Hello, I'm Rebecca Olds. Welcome back to my studio here at Times Smith Dress History. A few years ago I made a video about drafting a stays pattern using the ARC method that was published in Patterns of Fashion 5 and developed by Luca Costugliolo for the School of Historical Dress, who published that book. In today's video, this is part one of a three-part series that not only shows you what I'm doing, but explains how I'm doing it and why I'm doing it. It is the same style of stays, the 1760s strapless, fully-boned stays that are in Patterns of Fashion 5, project number 24 on pages 100 to 103. For this draft that I'm doing, I took measurements over my friend Sarah, who was already wearing a pair of stays that she had made that fit her fairly well, but they were of a later style, the Augusta stays that are kind of 1775 to 1790 approximately. I took Sarah's measurements using a physical measure, not a measuring tape like this with numbers on it in increments like an inch or a centimeter, but rather a physical measure using a strip of paper with no markings whatsoever on it until I mark the measurement that I've taken. This is the kind of measuring system that was used in the 18th century by tailors and staymakers for pattern drafting, involves getting a physical measure. In the period, they would mark the measurements taken by using a pair of scissors and snip into the paper in various ways to create different codes indicating whether it was a length that they were taking or a circumference or whether it was part of the body or whether it was a limb, arm, or leg. I did not do that in this case. I used a pencil to actually mark where I'd taken the measure and then an identification of what measure it was that I was taking. You'll see me using this tape in this series of videos as I go about drafting the pattern. This draft took me approximately perhaps four hours to draft, split over two days from beginning to end, including all of the converting of the master pattern into separate pieces that could be laid out or cut out on fabrics. I've split that into three. This is part one of a three-part series of three videos in total. I've taken a pretty light approach to editing so that you get a sense of the time it takes and the flow. Some of that is sort of mental. You can see me kind of thinking and musing out loud about the process that I'm doing. That does mean that each of these videos is a bit longer than the YouTube algorithm likes, and I say two fingers up to the algorithm. You may want to save these videos if you don't have time to watch them beginning to end in one sitting. Save them to a playlist or your watch later playlist so that you can come back and finish it at a time that's convenient for you. I do appreciate they're quite long. I will also add to the description below kind of chapters that you can click through to specific sections, particular parts of a video that you want to go back and watch over or to pick up where you left off the last time that you were watching. So I hope that's helpful. At various points during these videos, I talk about how stays should feel and how they should fit and where they sit on the body. So I hope that's helpful in your own projects. I also talk about adjustability and the sizing of your stays. It's pretty common these days to use the width of the lacing gap in the back of the stays to account for weight gain or weight loss. I don't think that's the way it was done in the period from my studies and experimentation. So I will talk about what I think would work better than that. And the spoiler alert is I don't think it was the back lacing gap. Now part one, Elphor Warnew ends on a little bit of a cliffhanger. But don't worry, part two picks right up where that left off. So hang in there, all will be revealed as we go along. So without further ado, we'll get straight into it. Part one, which is really drafting the basic block for the stays. Determining the lengths and the circumferences and the basic size and shape that these stays are going to take. Okay, the first thing needed is this vertical line. This is basically the frame reference that everything else up and down, front to back will be measured with reference to that line. Now, when working with your piece of paper, make sure that it's large enough. Remember, it only needs to be large enough to map half the body from the center front to the center back. When you put in that vertical line, bear in mind that part of the stays as they get patterned are going to swoop up this way on the back. And they're going to extend to the front more so than at the back. But in apportioning the kind of volume of the body, that kind of midpoint, that midline, roughly running through directly into the underarm, that there's going to be more of the body, the mass of the torso towards the front of the body than to the back. So bearing that in mind, you may choose to position that vertical line just a little bit right of center. And you want to make sure that you've got enough at the bottom and that will then give you scope for drafting the back to extend up this way. So I'm going to have more of this line than I actually need showing here at the top, we'll go ahead and get that right down to the bottom. The next step is to map on the underarm measurement. It is a length measurement. So on a period drafting tape, it would be marked a certain way. I've actually done this with drawing a line, so there's no doubt no one has to interpret a key of the symbols cut into the paper tape. So AM is the line, the length line, a vertical line from the underarm to the waist. I am going to place the waist more or less halfway along here, so that I've got room to work with above the waist and below the waist. So let's just go here. Now, I don't exactly know how long that line is that I'm going to need, so I'm going to extend it very generously just in case. So that we're going to refer to as the waist. So measuring up from that to the notch at the top of the tape, and I line that up, comes to here.  OK, now as noted in Patterns of Fashion 5, that is the top of the underarm. And proportionately, then, where the bust line falls is relatively low from that top point towards the waist. If you look on page 155, it uses Smith-Covered Staves from an earlier period as a point of comparison, a garment for comparison, noting that 18th century staves, especially this style from the 1760s, does sit quite high up under the arm. So I'm going to want to be careful that I don't end up with the bust line drawing too high. OK, we have a slight hiccup here in that one of the measurements that I'm sure I took is not marked on the tape. However, this is not absolutely essential in this particular case because I measured overstays that already fit, that she has that fit well. Stays that are for a slightly later era. So we're doing a bit of time traveling here. In the period, it would not have been unusual for a staymaker to be taking measurements over a customer's current pair of stays with a view to making stays for newer style of stays. So a woman who had been wearing fully-boned strapless stays of the 1760s and into the 70s, and then as the silhouette began to change, she might be wearing that pair of fully-boned stays while being measured for the newer style, a little bit softer with a little bit more pronounced bust shape. In this case, we're working from the reverse. However, fortunately, the pair of later period stays, which are from the Augusta pattern, were being worn fairly, fairly straight front, not a great deal of so-called thrust. So I think from that, the fact that I took these measurements overstays that already had her breast tissue in a somewhat compressed and supported position, that I can take an educated guess based on my experience on where that natural bust line would be without being shaped or manipulated by a later style of stays. So I'm going to calculate this measurement of AP, which is defined as the length from the bust at bust level, so somewhere on this line, from the bust level to the waist. So you would take that AP measurement, starting from the waist, and ideally have a mark on your tape to measure up to find AP. Now, the proportions of the stays pattern on page 155 and patterns of fashion five, it looks like on that pattern that the bust line is found at a little higher than one-third of this total line. So I'm going to very quickly determine what the thirds are going to be of this line. It comes out almost exactly 8 inches, so we are looking at perhaps 2 1⁄2, let's see, yeah, 2 1⁄2, 2 1⁄2 is 7 1⁄2 times 3, so actually that will work very nicely at 2 1⁄2 will be just a bit higher from a distance measuring a third of this total distance. So we'll go with that. I think that is a fairly safe guesstimate based on having seen this customer in her later stays that do pretty much put her body in a very similar sort of supported shape as these stays need to. So we will call that bust line. The next step then is to make that apportionment of the mass or size of the body between the front and the back. One of the measurements crucial for determining that is a measurement that's taken across the front of the bust from underarm to underarm, because obviously half of that well then it should be the center front. So I have here the whole of AD is across the entire front of the body from underarm to underarm, which as you can imagine will be bigger than if I had taken that same underarm to underarm from the back. So we have AD as a whole marking here is having been taken across the front and to the underarms and we need that in half. And I believe I have already made that calculation and put it here. It looks like that I may have mistakenly made that calculation from the end of the tape, which is not correct. Yeah, I did in fact do that. Right, so it needs to be here to there. So this is AD. And as you can see, sometimes mistakes are made, but logic can prevail in helping work out exactly what was intended. So here is correct AD and that is the apportionment along the bust, along that bust line to find the center front and it is here. So then we know from taking her entire bust circumference and then you take half of that and that should give you your center front to your center back. Now that's bearing in mind that that measurement was taken in stays. So as a backup and a little bit of a sense check, I also took a measurement of the waist and bust areas without stays on to see how that affects this apportionment. And what we find here is that the midpoint vertical line here along the bust from that to her center back is this and that corrects any distortion of these measurements that may have occurred when taking measurements with her already wearing stays. So we should find that this, let's see, that is seven eighths, eight and seven eighths inches and this is almost exactly the same which gives, does confirm just how much bust compression the stays she has in those stays. I need to have a think on how I wish to address that. But meanwhile, I will also capture the double check. That's from that notch, that yes it is. What we have here will be on her waist from that midline to the back. So we can see that this is going to be based on her natural measurements, pretty realistic for a back line, a center back line. And I am pretty happy with that, knowing the amount of some waist reduction that she has in her current stays. So the next measurement I need to look at is to try to determine the center front point on her waist, her half waist is this. So that's her total half waist and we know what that we can put that there and that here. And as I suspect that she's got quite a lot of reduction in these old stays, we are looking at that six and a quarter. Yeah, she's got a lot of waist reduction going on here. I think because this style of stays is going to require darts and curved seams, we need to account for just how much reduction she is getting.  So of course the circumference measures that I'm working with, her body inside is already smaller than the measurements I have because my measurements are taken around the stays as well. Then accounting for the level of reduction, she's quite squishy and she's got very good support in those. So I think that it is entirely realistic to add at least one inch to the front part of the body that the back, having done that, checked that both in stays and without stays on, I'm pretty happy with how that is playing out on paper. But I think her natural body, if I had taken a full set of measurements with a view to a fresh pattern draft with no reference or comparison to other stays, I think that these measurements would be sitting further this way. One other factor in this is that stays when worn and where the parts of the stays need to coincide with parts of the body, the center back is drafted with minimal, if any, lacing gap. I know that it's commonly said that you want a two inch lacing gap. However, the moment you're playing with those pattern pieces, as we see in the X stands and in images, the moment we introduce a bigger gap with changing of weight, which seems to be the rationale behind people who feel there should be a large lacing gap, then that piece begins to sit over a part of the body in particular the flanks over the high hip around on the back that is extremely uncomfortable, if not outright painful. Using a lacing gap at the back or to a lesser degree the front, the back in particular, if that's gonna vary much, then that is going to affect where the stays sit on your body in a way that introduces huge risk of pain. What we see in images is little to no lacing gap in the back. I know that that raises the question of how did people continue wearing one set of stays with fluctuations in weight? I think there's a lot to be said for how the darts in the seams that achieve the waist reduction, they're not uniformly done. The darts are different shaped on each seam. And I think that's where the variation, the forgiveness in the stays are going to work for you. And if someone was going to have a lot of weight fluctuations and needed to keep those pair of stays, for example, if they gained a lot of weight or for whatever reason, could not have a new pair of stays patterned, it makes a lot more sense to me to split a seam that is along the side of the body and side lacing. We do have surviving stays from the period where that has been done. It's usually assumed that that was for the sake of maternity and a swelling belly, but that would also be very sensible for just general weight gain. And then subsequent, perhaps, weight loss as well, but the lacing can be brought back in. But having worn stays day after day, long days in an 18th century setting in a museum, I can vouch for the fact that this panel that's going to be drawn on the back needs to stay exactly there. If I were needing to let out my stays in some way, I'd be going for probably the seam between pieces two and three. I should have this in front. I'm talking about this seam. This seam can be let out a little bit or split open and close with lacing and somewhat on this one, but I would not introduce that here or here. That's my view. I would love an opportunity to put that to the test, but frankly, there are not enough women wearing historical stays in historical settings, leading a life and activities in the same way as our ancestors did in the 18th century for me to basically have a pool of people to run trials on that. But that is my thinking based on actual wear and experience myself and refining my understanding of how stays sit on the body. I also have alongside that thoughts on fit, how they should actually feel when new to be sure that the pattern is correct. And that would be relevant too if you've made a mock-up assessing the fit of the mock-up. I will talk about that a little, another point in this video. Back to this apportionment of front to back. I am going to arbitrarily add two inches. Now remember, we're working with halves, so I really only need to add one inch to the front. Now, the bust is a little trickier. Compression can work a little differently, but I suspect that there is a measurable reduction that she gets in her current stays, perhaps not as squishy as the waist. Breast tissue is different from fat tissue. Considering the shape of the bust actually changes by being uplifted and supported from below in stays, she may well be getting an inch reduction, in which case I will add half an inch to the front on this pattern. Again, this is the bust and we have not drawn the curves in yet. So what we have here at the moment are a midpoint under the arm, under arm line, a bust line, a waistline. We now have a hypothetical and this line is not going to need to match that. That line does not actually extend out in the final pattern. It's more important that I get a long line extending down as far as possible here. Okay, and likewise in the back, that would could usefully intersect with this line. So we will extend that slightly. Okay, so we're going for this. And I know from experience that this needs to be drawn somewhat long. It's going to need to extend quite high there. We're drafting those pattern pieces, so extended it right up to there. Okay, so still to come are arches, determining sort of a high hip, which will help with the drafting of the arcs there. And then apportioning the body further for the four separate pattern pieces. What I've basically done then is altered what's the measurement I'm seeking as of what's on my tape. So I need to sort of retranslate those onto this tape before using this tape to formulate the arcs or the curves. Because remember it's the curves that map out where the stays are actually going to fall points of the body. So those curves need to be the correct measurement. And curves, of course, have a different measurement than a straight line does or it's a different effect. So I need to translate these changes about at half an inch here. So now, AD at the hole, the hole has now got this added bit. And I think we will just translate that here and put AD revised. Okay, and now the waist. That was the original. We've added an inch this way. So this kind of needs to be the revised. And here, so this is AF revised. And this is half AF revised. Let me just check that. Yes, perfect. Now, the effect of these stays need to achieve a certain amount of support and compression, relative, of course, to the actual measurements and size and shape of the body. But we're going to basically draft these curves as they appear in the pattern on this pair of stays. This is hopefully drawn out in this staged drawing. But this can also be double checked against the extant stays themselves. This is number 24 on page. On here. And it's through checking the fullest points of the body when these patterns are joined together. If you were to make a two scale, exactly as they are here, make these patterns and cut them out in paper and join them together so that you get a sense of the 3D shape of these stays. That tells you actually where the relative points of the body, the bust and the waist and the hips are all sitting within that. Now, remember these stays were drafted for an individual. These are not some sort of generic or idealized or standardized pattern. The pattern details, things like the shapes and the length of the skirts. That has to do with the fashion or the style of the stays. But the sizing can be identified through what these look like made up. It gives you a very good sense of the actual size and shape and proportions of the original wearer of these stays. So we are going to put full trust in the staymakers at the period. These are a particularly fine pair of stays. Obviously the staymaker was very skilled. So we're going to put our full trust that he knew what he was doing. As far as his draftsmanship is concerned, that this was the effect that was achieved on a person in the 1760s, 1770s, let's say the third quarter of the 18th century. And so that is the effect we want on a body today drafting. We want to achieve that as reflective of the style, the fashion and the silhouette and the way the clothing over these stays would have been worn. This gives us a sense of what our end goal is that we are seeking to achieve when drafting a pattern such as this on any person regardless of their actual size, shape, dimensions, proportions, et cetera, et cetera. So we're going to go with that arc as well as we can. And then we will measure the actual curve, the line that results to adjust if necessary to determine exactly according to the measurements that we want. Okay. So as far as drafting, I am relying again on some of the proportions of this pattern. And we are looking at a curve, an arc that is going to sit just a bit higher than half of this distance. I'm looking at this relative distance to here. And it would seem that halfway would be approximately here. I want it a bit higher than that, but not a great deal. So if I aim for that, let's see how that will look. I'm going to go just a touch higher. I think I'm going to go with about there. Now that becomes what is, this needs to be parallel. Remember this distance here, here to here, I put that here then the front of the waist arc is going to be here. Now same applies to the back. And you'll notice that that intersection of that arc on that axis is much higher than the front of the bust. So again, I'm looking at the proportions from this horizontal line and this horizontal line. And let's see, that looks like that's about half. So that's about a quarter. It's going to be sitting just above three quarters. So let's see what we have here. Again, we have that under arm measurement that here to here. Here's AM. I'm going to have another since check there. It doesn't hurt to keep checking these things just in case you've inadvertently picked up the wrong line as you're measuring. Okay, I want to make sure these are less of a drop from the horizontal in the back as in the front. So here we've got about two inches. And here I've got one and about three eighths. So that seems like it's fairly proportionate in terms of how that arc is going to compare on this portion of it. And then it transitions to this portion. It's going to drop a bit lower in the center front down in the center back. Does that make sense? Okay. We want this sitting as close to that line as possible and not too abrupt. I may need to take a bracelet off. And likewise here, it just needs to be pretty soft. Okay, I'm just using this to track the deviation to make sure that the stronger arc or angle of the curve does in fact sit up here before it drops away. So I'm aiming for this. You notice I'm not using any mathematical formulation. I'm attempting to do it the way a fully trained experienced period staymaker would do. Now I don't have that training. I don't have that experience, but I value that. And in my struggles to imitate not only what they did, but how they did it, it makes me appreciate just how much training they had, the apprenticeships they served and any tailor who went on to specialize in staymaking in any kind of population center where there was sufficient demand of business for specialized in that. I don't want to undervalue that skill, that highly trained skill. Using different methods than we would tend to immediately our go-to methods would be different today. It's a different world. But the more that I try to do it, the way the historical evidence indicates that they did it, the more I appreciate that. I used to draw a lot as a child, so this is not particularly terrifying, but for a lot of people it is, and I get that. Okay, just discovered that the overhead camera battery had died, so just going to review where we're at. That I used those two key points of that waistline and the arbitrary bust line, and I used that distance by putting that along the arc that I had drawn for the bust to basically map out points, dots for the arc for the waistline, and then I could sketch the men gently to join the dots. And I did that for both the front and the back.  So I can see that here, I should probably have that more like that so that it hugs that straight line just a little closer, a little longer, a little further away from the vertical midline. And then I can clean that up a bit, just to see if it looks okay. That's that, okay. I'll check my notes for the next stage. Yes, I need to very carefully determine exactly what the end point is for each of these lines. It won't be the same as it is on the straight, we shall see. So for the bust, so AD is the front of the bust and I need to track this along as it curves. And you can see it's actually gained a touch that this to this is the same as this to this. Okay, so this is actually coming out to here. Right, the waist, half of the waist is AF. Here we go. So we've got that to there. This needs to track along here and that has extended to there. Okay, same with the back. So that was AD and I've stopped and think about this. We didn't revise any of this. Okay, so AD is not revised in the back. Oh yes, it hugs the line a lot more here, a little bit longer. Do this in smaller increments. Oh, that looks a bit flat, okay. Let's show you again, again, again, again, again. So it's here, okay. And then the waist, same again for the waist. So here to here, right, right. So now we follow that around. Sometimes tricky to not move it too much or too little as you come around. Okay, I'm after this line here. Okay, so we can see here, we've actually got revision, change. And perhaps that was just a case of I shouldn't have drawn these long lines so early in the game. I should have got these arcs in place first. That's okay, because I can see now what needs to be done. Thank goodness for erasers. And don't be afraid to use it. Eraser is your friend to enable you to do better, just like a seam ripper. So what's actually happened, if you think about this, stop and think about why these lines, the positions have changed slightly. I had added circumference on there to try to make allowances for how much compression there was in the measurements that I took with her already wearing stays. These revised lines kind of reflect that a little bit that in stays, she had more of a nipped-in waist. You take the stays out of the equation, something closer to a natural body that has not yet been compressed. And that kind of hopefully returns you, returns your mapping out of the general dimensions of the body, the length and the circumference. Now you've got sort of a relatively clean slate. So that as you draw in the pattern pieces that include darts, that means you are now drawing in the reductions again, but the reductions according to this style of stays, not the style of stays she was wearing when I took her measurements, which could have looked very different, that style and how the seams were shaped with curved shaped darts to achieve that silhouette and that shape. Now we've got something here that we can map on this style and the shaping that was given to each of the seams to give the silhouette of this style of stays. But first we need to carry on with the measurements to determine the width of the back pieces, excuse me, the width across the front neckline above the bust and it's from that then we can shape out the armhole and then begin to refine the shapes of the pattern pieces. But doing this will finish mapping in the shapes, the measurements and proportions of the person's body. So that's what we'll crack on and do now is finish, start working through this. The instructions say once the length of the front and back, including the front and back peaks, ah, yes I haven't done that yet, let's get to that. Front and back peaks, this is a little bit of a negotiation between the style of the stays, so how much in the front, for example, at the waistline, how much further are you happy for that front peak to go? That's partly a matter of the style of the stays and that's partly the preferences of the individual wearing the stays and what they're comfortable with. So we see that people are wearing different styles throughout their lifetimes, some they may have found more comfortable than others, although all of them still fulfill the role of posture and support. However, almost inevitably, just as today with changing fashions, there are certain things you kind of think, ah, that suits me really, really well and that may then affect what you say to your staymaker for a new style of stays, but you kind of, you might say I'm really not prepared for the peak to go that low or to stop that high. We just don't know how much for each of the surviving extant stays, how much of that individual's preference fed into the pattern that was drafted to make those stays, whether we are seeing a highly fashionable ideal rendered into garments or whether each and every pair of surviving stays that we can study today, it seems reasonable to expect that every single one of them reflects some input from the wearer. So for determining the length here of the peak as it carries on below the waist, let me check whether we need to be doing the high hip curve just yet. So AI from this waist to here, that's going to be the top of the stays and then we need to continue on down to find the peak. Now I've got notes here that indicate that the peak drops three to four inches. So let me just check here. We have mapped up to find the center front top. Ah, I can find the center back top first. So we'll finish getting the top line and then, right, now that strikes me as too low. Well, maybe not, maybe not. So this measurement is center back to waist. Okay, my notes in this are affected somewhat by my own preferences in staymaking. I'm for myself, so I need to bear that in mind. So it may be at mock-up stage that we'll determine to adjust the height of the back just as we might adjust the height of the front line. So with those two points now, I'm going to need to establish some square, what we call squaring off. So from this line, I need to get that line across there on the compass, centered on that dot there. That is going to be a line. This won't be the top line. It will just be a guide point line. Okay, and then square off this. Quite no yet how long these lines need to be. That's fine. So considering what that arm's eye is going to look like, that looks about right for this style of stays. This is a pretty arbitrary number, kind of taken from the length of the peaks on the extant stays. I'm taking that as a feature of the pattern, although as I said it might have had input from the wearer. So we're going to make the front peak down to there. Let me just double check that that seems reasonable. No, there's more to it than that. There's more to it than that. Oh, this is a factor of measurement. Okay, tool based. What I'm after is AL. There we go. That's better. That's better. This was something that was taken with her input, considering how low she was happy to have that front peak come down. The same with the back. Got a feeling I don't have the letter marked on it. So that's AG. Don't seem to have that. Let me see if it appears proportionate here. 1.8 and a half. The same. Okay, so that's fine. So from the waist, just need this really. Waistline to here. Waistline to here. Okay, and that looks about right. Yeah, that will effectively, because of, again, greater proportion of this side, it will be a little bit lower on that side than here. Okay, so that's the peaks. From the waist, we want to drop down an inch and three quarters. And this is a matter of the pattern that is to the length of the skirts. So the length of the skirts, I've got three and a half, three and three quarters. And these are notes, again, the pattern of the, right. So this is effectively what we're working with for drafting this arc here. So this is going to be the start of what in recent years, people refer to the split of the tabs, but what this is is the endpoint of the shaping darts that are on any seams here. It's as far down as that dart is going. So that's what we're determining here is, and I'm looking at that and thinking this feels quite low, but I've got to remember it's a matter of scale. And this is a trickier arc, because it's not running parallel to anything else. It's steeper in the front than it is in the back. Right, so here I need to focus my mind in a sense, sort of step back and look at the bigger picture as to how that arc needs to appear. And as I've got various bracelets that interfere just a bit, I'm going to take that one off, because what I've got is I need to go from this line to this line mirroring that.  Again, as I did before, I'm just going to feather this in and actually look at what it looks like. Okay, I think I don't quite know where the recording overran its limits. I think the pit that might not have been filmed is me continuing to work on reconciling the arbitrary measurements of the length of the peaks as taken from the extant stays in that pattern versus the length of the peaks measured on this wearer and her input into how she wants that to feel, and then taking into account then the proportions of the arc. And I have moved it higher, bearing in mind that at this point that needs to be one and one quarter inch, whereas the notes I had from the workshop indicated that was a distance a drop of one and three quarters. One and one quarter actually seems to fit this proportion better. And then I've been able to make that curve and that curve is going to be the line where the tops of the skirts take, where the body of the stays open out into skirts that spread out over the hip. So that line does rise closer to the waist at the sides and it does drop at the front and drop at the back. It drops more at the front than at the back a little bit deeper. But that is reflected also in the comparative lengths of the peaks that the front is sometimes just a touch longer. The peak in this case is possibly a little shorter for the wearer's comfort. The back, we're going with the pattern. Don't think that she felt super strongly either way and this works for the kind of support on the back with the way that peak and the eventual skirts are going to splay over the curvature of the buttocks to spread the load to make all the petticoats and any skirt supports more comfortable. And those need to sit in a particular place just right if they're going to do that job and be comfortable. And that comes back to my theory that moving the center back or allowing it to shift in or out with a narrowing or widening of the lacing gap to account for changes in weight is not the way to go. So keep flogging that horse. That's what I believe to be the case. If anyone has a differing view, I would love to get together and talk about that. Right, so we are now where we can start to kind of map out the proportions of the four pattern pieces just determining kind of where they're going to slice up this pie, if you like. So I have squared off from the top of the center front. I need to determine that distance is AC on the tape. Right, okay. Add half an inch to center back. Where is AB? There we go. AB is centered back to the edge of the armhole. That seems quite... That's much too... Think about something mislabeled. That is not unless that's the width of the back and I want that this might be quite wide. I see. Start a little checking. And shifted the... I had kind of... I don't know, slipped something wrong slightly with determining this point and then squaring off. So I've just redrawn that. I've also got just a little bit of uncertainty in my notes about this portion. So we'll just take this one step at a time but square off from the top of the center front across AC. That's what I've done here. Add half an inch to center back, okay. Square off the distance of AB. Okay, so I had that slightly. I'd squared that off too soon. AB, draft the top line. Determine the arm's eye front point. So it says one and three quarters from this. Two inches, that's right. This vaguely brings a bell now. This will be where the peak is. So I need a curve, a gentle curve here and it kind of needs to be done again on a full curve sort of thing. So we've got a little bit of a rounded edge here. Not too sharp. This arm needs to... something like this. Actually, from this we can see this. It comes and hits this line and slightly raises up again. So we've got a little bit more depth to the armhole here and then less there. That doesn't look too bad. Right, it looks like an armhole. An arm's eye. At this stage, that's all I'm going to expect of it. Right. So now we need... a portion. That looks too wide. This is a definite measurement I've taken. That's a definite measurement I've taken. It looks like it should come over to here. Try that again. That's AB, isn't it? What's this? Actually, I think it's more... I might have drawn that in the wrong place. Hello again. Thank you for sticking through this far. Don't worry. This was a natural break in the drafting process where I reached the point where I wasn't too sure what was going on with the width of the back. So I actually put the project away overnight and came back the next morning and thankfully was able to solve that and move forward. So stay tuned for part two.


One of the arguments in favor of markets is that they're supposed to provide for individual choice So they're kind of democratic. They allow everyone to choose. It's quite the opposite markets radically restrict choice In a very important way So take speak concrete. I have to get home tonight, right? The market does offer me a choice Between Toyota and Chevrolet. It does not offer me a choice between a car and a subway That would be better for me would be better for my grandchildren and help save the environment and so on But that's not a choice available in the market Markets sharply restrict choices to individual consumption For what that is many negative aspects to it quite apart from externalities for one thing it means that Lots of choices just aren't available the choices that an individual might prefer and see I would prefer But furthermore, it kind of exaggerates the most negative aspects of human Potentiality it turns you into someone who is dedicated to maximizing individual gain not Social concern exactly the opposite of what Smith human leaders took to be the essential view of nature That's intrinsic to markets quite apart from that comes the question of externalities, which by now Are species destroying? Yeah, I mean it's inherent to markets that Exxon mobile That will try to maximize profit independently of what happens to the fate of the species and they're doing it so Exxon mobile just announced again that They're not going to waste any any They're not going to waste any resources on the marginal profit that you might get from sustainable energy they're going to Try to extract all the fossil fuel they can With new technology and they'll be huge profits and so on of course the grandchildren may not have a world to live in But that doesn't matter part of market Economics is you don't care about the fate of your grandchildren. You care about more profit tomorrow These are all essential aspects of markets and among the reasons why they're literally lethal Destructive to the individual because of the sharp restriction of choice to Individual gain that Creates it almost inherently creates a kind of sociopathic society. It's maximizes the sociopathic elements of human relations and even individual psychology and it's also just Completely unsustainable actually take a look at history. There are a few cases where markets were in fact Actually functioned one of them is the third world. In fact, that's how the third world became the third world They as in the case of Egypt and India. They just had these conditions forced on them. So then yes, they the industrialized became What the United States would have become if it had followed Adam Smith's recommendations that were freezing do the opposite The other interesting case is England in 1846 England Was way in advance of other societies industrially that had more than twice the per capita capitalization of any other country. So under those conditions England's merchants and manufacturers the ruling classes could Consider the possibility of accepting free trade because they were going to win Anyone who's going to win is in favor of free trade So they did move towards lessee fair sort of They could maintain the protected market in India huge market, but that was protected Not no free trade and they wouldn't let India develop. They would let other countries move in and this experiment didn't last very long the effects of permitting lessee fair were so harmful to english industrialists and manufacturers and merchants that they pretty soon called off the experiment By the 1920s when Japan was out competing They simply closed off the empire No more free trade will close off the empire because we can't compete So free trade is fine if you're going to win But with restrictions But not if you're not going to win same happens in the united states The united states was the most protect probably the most protections country in the world From its origins right up to the second world war and prosper By the time you get to the end of the second world war the united states was So much in advance of every other country that free trade seemed like a decent idea The united states literally had half the world's wealth at that time. So fine. Let's have free trade With a condition and the condition was very striking. So for example in february 1945 the united states called an a hemispheric conference In Mexico so all the countries came and the united states dick essentially dictated an economic charter for the americas Which was opposed to economic nationalism in all its forms said everyone has to accept pure market principles With a single exception which wasn't mentioned the united states The united states instituted massive state intervention in the economy That's why you have these devices that are here through the 1950s in particular this huge state expenditures Into developing the Basis of the modern economy a lot of what's done right here in fact right. We were sitting down below Invention of Development of computers or the internet micro electronics and so on almost all through the state sector This went on for decades So that but that's kind of an exception. You don't talk about that. So economic no economic nationalism for anyone else But a lot of economic nationalism for us We make sure that We'll have a powerful intervention in a state that ensures profit for the future and it's still happening walk around just walk around this neighborhood And take a look at the buildings You have Novartis, you know genetic engineering All the big commercial companies and multinationals. Why are they here? because they're feeding off of the research that's done through state Funding primarily state funding and the research in the main research laboratories and the university laboratories


This video is sponsored by Skillshare, which I greatly appreciate, thanks. Hello and welcome to the Grand Line Review Source for everything One Piece, and today we are going to take a break from our usual sycophantic worship of this godly piece of media to offer a bit of criticism here and there. And you know the words hate and One Piece, well, they should never really be paired together with the singular exception of saying, I don't hate One Piece, but even then that's just a very roundabout way of saying I love One Piece, so what's the point? Well, the point is that I asked all of you wonderful people of the Grand Fleet to tell me what you hate about this series or what you wish was done just a little bit better, maybe even a lot better. And we have some pretty interesting and very legitimate responses to go through that may leave you in a state of shock, disgust, or even the occasional, yeah, fair call. About as fair as hitting the subscribe button for the Grand Line Review, which will result in consistent injections of One Piece culture administered straight into your YouTube feed. Our fleet now numbers over 400,000 members, so let's continue our quest of world domination, and please do say hi in the comments below if you are a new member, welcome. But as for our first piece of hatred to digest, we have the following.   And I have to say, I think that not rooting for the main antagonist, kind of the point. I for one really enjoy the Blackbeard and his band of aesthetically impaired minions present themselves as anything but your standard villainous design tropes. To demonstrate the flip side of that, I have a very minor problem with Black Clover, for example, where the current series of antagonists are these beautifully sculpted devil wielders. And whilst they do look admittedly amazingly cool, they're just a bit too perfect to the point where it becomes kind of immersion breaking. Whereas in One Piece, your main villain is this overweight alcoholic from Samal here, and I'm just like, yeah, you know, I can see that. And what's even better is the Blackbeard, despite his design can strike pure fear into you. It's definitely an acquired taste though, which does go for One Piece as a whole. I certainly didn't start the series liking the designs of characters such as Blackbeard, Usopp, and Jinbei. But if anything, as a result, those characters become the most capable of surprising you because your expectations of such a wacky design just aren't anywhere near as high as seeing, say, Dracula Mihawk. But once again, these designs, well, they're definitely not for everyone.  Pell should have died. There are just situations where people survive these massive explosions or beat downs and that's it. So here's a classic grievance over death, which is a fairly ironic grievance really because generally we should be celebrating life. However, when it comes to One Piece, it's quite the opposite. And some of the times where I've praised Oda the most are when he actually kills someone like the all important ace situation. Outside of a flashback, that is 100% the best use of death in the series but it's very much an aberration. And on the other side of that, the fan named Will of P is a great example of a list of characters who really just should have stayed dead. Pell, Pagaya, Pound, but hopefully not Pedro. I think what really kicks fans right in the other narrative balls is the idea of giving characters a death scene and creating all sorts of artificial drama only for that to be rendered retrospectively bankrupt. And you know what the funniest thing is at his core, Oda agrees because in an interview performed as recently as 2019, he said the following, I hate the revival of the dead. If a mangaka ends up reviving the dead, then they shouldn't have killed that character in the first place. And what can I say? I couldn't agree with you more, Oda sensei. However, you are undoubtedly the leading offender on this matter. But as for our next point of contention, it is Enniru, not Enel. And look, you're both right and you're wrong. The official English name is of course Enniru. However, his Romanized name in the One Piece of Evia Cantata book is Enel. So basically just say whatever you want. And I'm going to go with Enel because it sounds like anal. And rather awkwardly, that will be the transition into the sponsor of today's video Skillshare, an online learning community with thousands of inspiring classes for creative and or curious people. Explore new skills, deepen existing passions and get lost in creativity. For example, you could take classes in animation, photography, graphic design, music, marketing business, a whole ton of incredibly useful and valuable topics that I cannot even come close to exhaustively listing here. There's even a whole bunch of classes dedicated to making content for YouTube specifically. One of which I checked out was the YouTube thumbnail masterclass taught by the budgeteers, which is actually quite fascinating. I mean, I've been doing this five years now when there was still some very enlightening stuff in there. And with Skillshare, unlike YouTube, there are no ads, meaning that you can stay focused with an annual subscription of less than $10 a month. Plus the first 1000 people to click the link in the description will get a free trial of premium membership so you can explore your creativity. So just do the thing, it'll be fun. Almost as fun as our next hated thing about One Piece, the way women are drawn. Now I got this response a lot. And I'm not exaggerating when I say that this was every second comment. I actually am probably exaggerating a bit there, but every third comment was something along these lines. And I think that we as a fan base, well, we pretty much universally agree, don't we? There's just this very stark contrast when you look at a group image of, say, the straw hats. You see Luffy with a funky, goofy rubber body. Then Zoro, who is adorned with just slab after slab of meaty muscle. But then we see Nami and Go. That's just tits on a toothpick, which wouldn't be a problem in isolation, but this model does get cut and paste into roughly 90% of female character designs. And yes, there are exceptions to this, like Big Mom, Katerina Devon, the Gorgon sisters, or at least 66.6% of the Gorgon sisters. They are the exceptions that prove the rule though. And for every one of them, you could probably name 20 characters of the more tooth-picky variety. So you know what I'm saying? Let's just give it a go. Nami, Robin, Vivi, Rebecca Viola, Toshiki, Perona, Bohankok, Riju, Hina, Kalafa, Nojko, Alveda, 2.0, Bonnie, Baby Five, Koala, Pudding, Monet, Stussy, and Yuri. That's a quick 20 right there. And we have not even begun to exhaust the female character roster. And even if you do remove any and all aesthetic objections to the design, the fact is that it's just boring to see almost every woman in One Piece have this exact same cookie-cut figure.  The fact that there is basically no bounty hunters in the series. And I love this point actually. I've been reading One Piece for like half my life. And look, when you're in your early 30s, that's quite a lot of time. But even I frequently forget that bounty hunters even exist. This is despite the fact that I am hyper-aware of bounties themselves.  And he has been ever since like chapter six of 1,000. The last time we saw an actual bounty hunter would have been Jean-Angle on Dressrosa.  Moreover, if you wanted to find the last bounty hunter before him, you'd need to look for Minoruuba who appeared in pre-time skip days during the first Sabadiak. But honestly, the best bounty hunter in One Piece is probably Shirai from movie four, which is sad because he is far from canon. But he is easily the best thing that One Piece has ever done with the concept. And even with him, they didn't do much. And it's all just so weird because the entire bounty system is almost entirely irrelevant without people to actively seek those bounties. Because Marines can't claim them, apprehending pirates is their job. They didn't get paid extra for that. I simply hate off-screening. Yeah, I don't think you'd be alone there either. And in case you're unaware, this user is referring to a narrative device that Oda makes use of, which basically amounts to playing out fights off-screen. And he does this in order to keep the story moving because One Piece is down at that point where we simply cannot get bogged down watching each and every fight play out in full detail. Sanji versus page one is a good and often cited example. There was a bit of it in the manga, but it was left off-screen and then the anime expanded it. And personally, I will admit that I am a bit of a fan of off-screening because I just don't think it's necessary to see absolutely everything. In the Sanji versus page one example, we were led to believe that Sanji was quite comfortably going to win. And once that feeling was imparted, there was no more point in staying other than simple spectacle, of course. But if a fight has nothing else to offer except, you know, an outcome, then let's just get straight to the outcome. Because if we took the time to play out every single conflict in this story of literally thousands of characters, then this series would stagnate and move even slower than people already complain about. And speaking of complaining, where are the naval battles? Which is very interesting actually. It's kind of like the bounty hunter's point because for a world based on sailing and piracy and that kind of stuff, we really don't see all that many sea battles. Which is, you know, almost exclusively what pirates would have engaged in. There have been a couple, though. Hawkeye Islands notably did a pretty good job focusing on naval fights. And if we go all the way back to East Blue, then Baratier had a nice aquatic concept happening as well. And at the same time, I understand that it's very hard to consistently do interesting things at sea. I know that would rather play on his funky creative islands. In regards to the ocean, though, why doesn't Kuido just jump into the water if he wants to die? It really seems more of a curious question than something you hate about the series. But lately I do think we found a good answer or two to this though. Without giving too much away for anime only watchers, Kaido is not so much obsessed with killing himself as he is with the idea of attaining glory, general glory. He wants to die in a glorious way, like say jumping off a sky island and simply throwing himself in the ocean to drown. Well, that would be seen as a pretty lame exit by him. Although come to think of it guys, with what we know in the manga, is it even possible for Kaido to drown? I'm not so sure. But before we dive too deeply into that, let's have some more hate. Sanji and Zora rivalry is too toxic.  Hmm, I'm not so sure about this. I feel like those little moments are very important to add some interactive diversity within the crew because just imagine some sickening utopia where everyone was friendly all the time and they just wouldn't be the straw hats that we know and love who get comically annoyed at each other to great effect. Zoro and Sanji I suppose just happened to be that most volatile pairing. It's also very valuable though because it makes those brief moments of respect for one another hit extremely hard. The only thing that really makes the Zoro, Sanji rivalry toxic is the fan base. So us, we are the problem. Meanwhile, on a similar note, the entire crew not all being together more. All right, so here's a shocking statistic. I sat down and worked this out one day because while I was curious, but throughout the entirety of one piece, the straw hats have been separated for a grand total of 331 chapters. And this includes the pre-time skip stuff after Sabati as well as the second crew separation on Dressrosa. And because Sanji wasn't present during the Zoro reunion, we actually have to turn all the way to Wano to find the crew together again. And all of that in total is 331 chapters. 331 out of just over a thousand at the time of this recording, which means that for roughly 30% of the series, the straw hats have been separated. And the large majority of that has definitely been in the new old era. So I can't blame anyone for feeling that way. And going forward, well, he is hoping they don't get separated again. I wish Ace got more screen time and I'm not talking a bit when they were little. All we really got to see of Ace is when they were at Alabasta and Marine forward and that's a bit it. Whenever Ace comes up in some kind of fan conversation, there's always this era of extreme sadness. Sadness that I have to admit, I didn't really feel when he died. I'd describe it more as raw shock at the fact of death happening in one piece because I didn't really know anything about Ace. He was a cool character who appeared once in Alabasta, then had this funky milk related cover story and then he just got captured and killed. I do get really emotional in retrospect though because I have the context of his flashback, but it didn't do much for me the first time around. What really does sell it though is Luffy's reaction because we know him and seeing Luffy like that was simply heartbreaking. I want more short arcs like Reverie. Ah, me too, Reverie was fun. One piece is just a bit too beyond that at the moment. It's gotten far too big for things like that and the only reason why the Reverie could even get away with it is because when you think about it, it didn't tell, you know, an actual story. There was no introduction, there was no conclusion. It was just a glimpse into somewhere of the middle of a separate story. It was happening in tandem with whatever the Straw Hats were doing, but there's no way we could have a short arc with an actual story like say, Orange Town in One Piece probably ever again. The paneling is way too much crowded. Fair enough, this is another aesthetic preference. Although I do personally love the wildly detailed panels because it forces me to slow down and take in everything that's happening, especially knowing that Oda likes to hide all sorts of fun Easter eggs in them and it also just makes the world feel so full and alive, you know? Real life is crowded, very crowded even with all sorts of people and other very annoying things. But I think that's one of the many reasons why the One Piece world feels as expansive as it does because just like real life, these panels are flooded with detail. More shanks. This really is more of a request than something you hate, but sure, here's some shanks. Although if you'd like to see some more of shanks then please do check out the Essentials of Shanks playlist which includes some pretty massive news that Oda dropped about him at Jump Festa so I look forward to seeing you over there.


So, a solar cell's job is to convert light from the sun into electrical energy. And in order for us to have access to that electrical energy, we need to wire up the solar cell. But the problem is that the wires on the front of the solar cell actually block some of the incoming light. But as you can see on this device, the wires cover about 5 to 10 percent of the surface and they act like metal mirrors reflecting sunlight away and that light can't be converted to electricity. So in the Tway group we wanted to figure out if there was a way to hide these wires and basically make them invisible to incoming light. So we started by studying a similar structure to solar cells. In this case we had a thin gold film on top of a sheet of silicon. This gold film was riddled with lots of tiny holes that are on the order of a few hundred nanometers. And when you look at this surface initially, you can see that it looks like a shiny golden mirror. So next we immersed the sheet of silicon with the gold wires on it into a chemical solution and within seconds the wires start to sink down into the silicon surface and through each hole in the wire grid pops out a silicon nanopillar. As soon as the nanopillars start popping out, there's a dramatic color change in the surface. It goes from clear to red to dark purple and this indicates that the wires are starting to be hidden from incoming light. When this process is complete, over 97% of light can be absorbed in this material even though gold covers 65% of the surface. So the huge advantage of our design over a conventional solar cell like this one is that we can cover nearly the entire surface with metal. What that means is that we have wires connected to every part of the device and we can therefore extract more electrical power and improve the device's efficiency. This is a huge advantage over conventional designs.


We have a very exciting last talk coming up Dario Jill will take us into a quantum world Dario is the vice president of science and solutions at IBM research where he leads over 1,500 engineers that That are researching and technologies and physics math health care life sciences and others And while some of you will think a quantum world. That's too far out. I'm very sure Dario will tell us otherwise So come up here on stage, please Thank you. I was joking with mark that We couldn't pick an easier topic to end the day than quantum computing But I'll try to make it, you know entertaining and hopefully easy to understand I'm gonna start with a reference to this term of beautiful ideas and It came from hosting a filmmaker about a year and a half ago in The laboratory. I just showed you at the TJ Watson research center in Yorktown Heights and It was a filmmaker that directed this Documentary called particle fever that I don't know if you've had a chance to watch but I highly recommend it It's about the team that was pursuing the discovery of the Higgs boson in the largest physics experiment ever conducted And a major character in the film is a professor from Stamford And at the beginning of the film he said something that really captivated me. He said the thing that differentiates scientists is a purely artistic ability to discern what is a good idea What is a beautiful idea? What is worth spending time on and most importantly? What is a problem that is sufficiently interesting yet sufficiently difficult that it hasn't yet been solved But the time for solving it has come now So I want to tell you about this beautiful idea whose time for solving it has come now and That is the possibility to create quantum computers if you look at how we have created the basis of the information revolution and You trace it back to other beautiful ideas Like what Shannon taught us to think about the world of information abstractly if you look at You know an old punch card and DNA We've come to appreciate that both carry something in common. They carry information and Shannon told us that these world of bits could be decoupled from its physical implementation That was really interesting but in fundamental ways It went too far leaving too much physics out so here is two scientists that work at IBM Research Charlie Bennett on the right continues to work in our laboratory and is an IBM fellow and They asked the question at the time of is there a fundamental limit to how efficient number crunching can be computing can be and When they asked that question as physicists They ended up with a very surprising answer and they found the answer to be no It turns out that number crunching can be thermodynamically reversible This led to an exploration of what is the relationship between physics and information? And there was a now famous conference that was jointly organized between IBM Research and MIT at Endicott house where this topic was exploring more detail and the plenary speaker was none other than Richard Feynman and Feynman Proposed in that conference that if you wanted to simulate nature, we should build a quantum computer And I'm going to explain you what that means and how it's created and the problems that it will solve But first I got to tell you what is a fundamental idea The fundamental idea just like we have bits in the classical world that can be a zero or a one in a quantum computer you have qubits which stands for quantum bits Now the difference is that they can be a zero a one or both at the same time That exploits a principle of quantum physics called superposition and it sounds weird and crazy, but it's true now to give you these and ease that you should feel when you talk about quantum information and quantum computing and Gonna give you a very simple example a thought experiment that also happens to be true So let's imagine that we're gonna solve this problem. The problem involves you have four cards three are identical One is different one is a queen we shuffle the cards and we put them face down and The problem we're gonna solve together is find the queen We're gonna be assisted by two computers one is a classical computer One is a quantum computer So what we do is we turn them down and we load them into memory So we use four memory slots The cards are identical we put zeros the one that has a queen we put a one right so in our four slots We'll have three zeros and one is a one We load them on the two computers Now we asked to write a program to find the queen find the one. How would it be done classically? You would go and pick a random number. You don't know where it is You go look under that memory slot see if it's a one if not you go to the next slot and so on and so on On average, you would take you the equivalent of two and a half turns to find it It turns out that with a two qubit quantum computer for this problem. You can always solve it in one shot So that uneasy feeling that you have now should be an Explanation that quantum computer is not just about building a faster computer. It is building something that is fundamentally different than a classical computer now a Way to think about it an abstraction of it is that a quantum computer is always gonna have a classical computer next to it They have to go together So you have a classical set of bits, right the problem that you're trying to explore What the quantum computer is going to allow you to do is to explore this exponential number of states These two to the end where n is the number of qubits that you have So now we have relatively small quantum computers with few qubits But just think of the number that by the time you have 50 qubits you have two to the 50 states That's a phenomenally large number But in the end after you explore these number of states you go back to a Classical output a string of zeros and ones that you interpret with a normal computer so why is this interesting and I think in this audience I don't need to you know explaining great detail You know what exponentials mean and why two to the 50s a very large number But it's still I think it's an interesting way to communicate the power of this And I like to map it to some problems But I like to go after this apocryphal story that actually IBM used in the 1960s to explain to people the power of Exponentials and it had to do with the person who invented chess that goes to the Emperor and says well here's this wonderful game and asks what do you want in return and the Person who invented is give me a grain of rice on the first day for the first square on the second day You give me twice as much and on the third square third day you give me you know twice as much as the day before and the Emperor agrees promptly that that seems quite reasonable and After a week you only have 127 grains After a month you have more rice than you'll eat in your lifetime for sure But just by the time you get to the end of the chessboard you have more rise than Mount Everest so They are a large number of problems in the world that have this characteristic that they blow up exponentially and A dirty secreting the world of computing is that we obviously talk a lot about all the things that computers can solve and can solve a lot of things But then there's a lot of things that computers cannot solve and very interestingly they cannot solve it now nor ever and The reason is because they have this exponential built into them So take as an example this fairly simple equation Factoring So if I have a number M that is made out of the multiplication of two large prime numbers And I only give you M and I ask you find me P and Q It turns out that that is phenomenally difficult to solve. There's no other way but to divide it sort of sequentially by prime numbers So in fact, it's so difficult. We use it as the basis of all encryption But if you had a very large universal fault tolerant quantum computer, which is many many years away You could solve that problem in seconds what would take billions of years in a classical computer That tells you something about the power of what is going to be possible big chemistry as a problem because it also has this characteristic that it blows up exponentially if you try to calculate it this equation that you see here is very interesting because it's predicted to occur at the ocean floor near volcanic sites and Famously has been hypothesized to be the basis of the formation of life on Earth But if you take a molecule like, you know iron sulfide and you try to do relatively simple calculations with a normal machine It turns out that we're not very accurate And the reason is that molecules form when electron orbitals overlap and the calculation of each orbital Requires a quantum mechanical calculation so for that simple molecule you have on the order of 76 orbitals and 2 to the power of 76 is Intractable with a classical computer so we cannot solve it Again on this theme of or assumptions that computers solve everything, but they don't If you look at calculating for example the bond length of a simple molecule like calcium monofluoride We still get it off by a factor of two even using the larger supercomputers in the world To me this has been very interesting this recognition of all these problems we cannot solve It's also true in optimization problems. There are the basis of Logistics and routing and you know portfolio optimization these tons and tons of problems in which at best we do Approximations, but we're far from optimal because the number of possibilities is enormous So if there's one message I want to be able to come across is that we have these easy problems Which is the world where classical computers fit and the problems it solve But then this is all their hard problems that go outside And if you don't believe that P equals NP which I would say the majority of mathematicians Don't believe that that is the case that those problems are hard for a reason The only avenue to go and tackle that aside from approximations will be to the creation of quantum computers So where are we? We believe that small practical quantum computers are gonna be possible and we're building them now It requires Reinventing the whole stack the device is different. It's not the traditional transistors as an example This is the device we use for the quantum computers that we create at IBM based on Superconducting Joseph's of junctions and you're seeing an example of one of these device is a superconducting device And because it's superconducting you have to cool it So this is what a small quantum computer looks like what you're seeing here is something called a dilution refrigerator and This quantum processor sits at the bottom of this refrigerator at the nice temperature of 15 milli Kelvin So that is colder than outer space Where we have to put this quantum processor in this is what for example a 16 qubit quantum processor looks like and You know inside the you see the square where the qubits are and you see these squiggly lines Which is these coupling resonators that allow you to send the information and couple to the qubits to send the information This is what the wiring looks like into their refrigerator going into a quantum processor is this coaxial cables and Because the way you send information to a quantum processor is through a series of microwave pulses That go in and then you're able to take it out Now if you look at pictures of what computers were like right in the 40s and the 50s, it's kind of like where we are today Right, that's what you know quantum computer That's the signal processing required to actually send all those signals down the coaxial cables. It looks like that But we've also seen this movie before in the sense that we know how much progress we have made from those early system And while we don't anticipate that quantum computers will be on your phone Because a required cryogenic cooling We definitely believe that access to quantum computers in the cloud will be something that People will be able to leverage behind the scenes even not knowing Because we believe that we created a small quantum computer last year and we made it available to the world And something called the IBM quantum experience and all of you can go and log in and have access to this It's available for free. It's a five qubit machine and since we launched it We have over 36,000 users from over a hundred countries that have been doing it and you know 15 scientific publications have gone on it and people are learning how to program and to learn about this new world and what is being created and You can actually run things on this. So I was telling you about these chemistry problems So this is an example of the expected theoretical calculation and the actual calculation on a small quantum machine of hydrogen So we're starting to solve small problems and what is coming in the years ahead in the next few years Will be machines that no classical computer will be able to emulate Because by the time you have order of 50 qubits Think about that. That's two to the 50 states and no classical machine will be able to emulate what that can do And that is new territory and that's the territory. We're all gonna enter and Now is the most interesting part because it'll be the path of discovery of what we can do and what value we can create on problems we couldn't solve before so I'll close with Feynman who proposed his original idea of creating these quantum machines and his you know inimitable style he said nature isn't classical damn it and If you want to make a simulation of nature you may you better make it quantum mechanical And by golly is a wonderful problem because it doesn't look so easy Thank you


Thank you so much, you see, the goal is good, I know that I am the elder brother of David, my name is Ezekiel Naga Kamal. So we are here to celebrate his achievements and he has come from a long long way. So I want to give three stages of his life and we will be able to see how much he has achieved within a very short time. Right now he is almost at the top of that, so to my description he is a young man. So he has achieved so much within a very short time and with very very little financial support from us. So much of what he has achieved is hard work and can we clap for him. I know him since he was a big brother together but I was proud of him so I know him as a young boy growing up, in fact he happened to school in my school. So I was taking care of him as I was school so he used to school there. But the courage he has because one item that he has and maybe not the item he could have taken in this far is courage. Do you agree with me? So he has the courage and that courage I have taken him in this far. On the side of family he is a very respectful person, very very respectful, very obedient. Maybe the man who will be given an opportunity to talk, she will tell us whether he is a bad boy or a disobedient boy. Because every one of us here comes from a family isn't it? So in our family he is a very good person, very obedient, very cooperative and we are very proud of him.  If you take, assuming it's that, let's work on that, most people don't like discussing their years. What you have achieved mission by the age of 30 and probably you have worked on this for maybe six, seven years isn't it?  Isn't it? So where will he be at maybe after five years? He will be very far isn't it? So Ushiri you have a long way to go. But there is a catch on this, there is another catch on this. At least musicians invest so much on social capital. Musicians, artists, they invest so much on social capital. They forget about the new capital as in financial capital. You get somebody who is so, so much popular outside their association, but financially they are nothing. So Ushiri what you are doing today, I think you are wise. You come from all these families and you say that. So he is trying to diversify, going to the side of financial capital because as a celeb, because you will be a celeb very soon, you also need a social capital isn't it? I mean a financial capital. And to my brothers and sisters who are here and musicians and artists, please look at that. As much as you are investing on social, you start up there, I mean everybody is, I know this guy, I know this guy. But come the end of the day I mean, you can't even take care of your, I mean, day to day living isn't it? So Ushiri what you are doing today, I think that's a wise step to take you a wrong way. The worst can happen is that when you don't have finances, you have a very good name but you don't have finances. It can be depressing. We have seen them. Some commit in suicide. They are known but they have nothing in their pockets. So please my friends, because I believe most of the friends here, I mean, they belong to the same career. Make sure you invest in both sides, the social and financial area. Last thing, I will not take time, I will not take long. Ushiri has to move up, try to move with others, especially the young ones. Try also to support others and one way or another it will come back to you. When I was growing up I was supported. I've also tried to support as many as I can but it also came back to me. Ushiri is a witness and it's one of the people I've supported but it also came back to me. So as we grow in whichever field you are, please support others and especially the young. And one day you'll be proud of them. Today I'm very, very proud of Ushiri. I would never have thought that it can be this far. When I tell people that this is my brother, it's like, oh that's your brother. Then I'm happy. So I'm very, very proud of Ushiri. Keep it up. You go very, very far. Just take those calculations I've given you. You have worked for, where we are, you have worked for it for seven years. What about another 40 years and where will you be? I'm trying to correct how you have that.  Thank you so much. Wow. David, there's a reason why we are friends and a family. It is a gentleman, even round of applause. One more coffee. Thank you. And I'm so grateful to have you today here. It has really taken him a long journey to get here. I've gone up and down but at least we have seen God studying with him. And the things of enjoying ourselves, it is good to recognize who gives us thanks, who enables us, who gives us our bread every day, and even they can give glory to God. And what I've said is, may this be the first step in the story of Moira David for him to be able to reach many and many dreams he has in life.


Hey, what's going on guys? Patriot Prime here once again with another response video, but before we get into the video itself I need to ask you a favor. If you happen to be watching this video right here and are not a subscriber to Patriot Prime Reviews Please hit that subscribe button right now. I am trying my best to reach 2000 subscribers by the end of October in time for TF Con in Reston, Virginia So hashtag 2000 by TF Con. It won't cost you a dime to hit that button, but it'll help me and my channel out tremendously. So on to the video. What this is is this is a response video to Barry Shaw. That's the name of his YouTube channel as well. He's the admin of a Facebook page called the Transformers YouTuber community. It's a Facebook group that it's pretty cool It's a bunch of us Transformer YouTubers. We get together. We talk about our videos. We show off our videos We kind of subscribe to each other and give each other pointers on how to make these things better So what he proposed a couple days ago was he issued this challenge He calls it his homework and it's called toys you still love even after the shine wore off So what it is is you have an old figure. Yeah, I've got a bunch to choose from back there It's a figure you bought. You were excited to get. I mean this was an awesome toy You played with it. You reviewed it. You just couldn't put it down and then you did Some you never touch again. There's quite a few figures, especially in that corner That's not g1 that I haven't fooled with in a long time But what this video is is you grab one of those toys that The shine never wore off. This is one that you always go to. This is one you show off This is one you still mess with So that's that's the gist of this challenge and that's what I'm going to show off for you guys After this awesome rock and roll intro Now I thought long and hard about which figure I was going to showcase in this video and then it finally dawned on me Every time that I bring somebody into this office for the first time There's always one figure that I pull off the shelf to show off and that is 1984's generation one Megatron now.  I mean this is one of my favorite g1 figures Granted when I first got him in 1984 I was kind of disappointed that he doesn't look a thing like he did in the cartoon But you get over that, you know your imagination takes over as a kid, but I absolutely love this figure I mean he he's awesome. He's got nice tight squeaky joints. I mean, he's in really good shape now Funny story about this figure. I found him at a flea market probably about 10 years ago It was just his pistol mode. He didn't have any except or just him himself He didn't have any accessories and he was in gun mode So I'm looking down to table and I look at the guy selling and I was like how much for that toy gun right there and He goes up $3. So immediately I went about $3. I hand it to him He takes the money and I pick Megatron up and transform him into robot mode guy looks at me and he goes I didn't know it did that. I'm gonna have to ask for more money and I said no, sir You said $3 money has been exchanged. This guy's going to a good home So off the eBay. I went and over the years. I got all these pieces and parts Now why I enjoy this figure not only for the nostalgia purposes I love showing him off to just show How far transformers have come and what they will never be again now. I like to display my Megatron with the Barrel of the gun facing up, which is not in the instructions. It's supposed to be swung down So it gives him a little bit more of that cartoon accuracy But when I first take this guy off the shelf and I go to transforming go ahead and starting from how he's supposed to be I take him off the shelf and I'm talking to my guests in the house. I'll say yeah, this is a awesome transformer We'll go ahead and transform him into gun mode You know, of course, and they're watching me do this and they're just in shock and all Of how one that I can do this with no problem Get them all together here and then once I get him transformed It takes me a while line those legs up. Just right There you go. Now once I get him transformed into his glorious gun mode, I'll hand him off And I'm like feel how heavy this guy is. That's a die cast metal in him and I explained that you will never ever see a transformer toy like this again. I mean that is a very Realistic looking pistol today's in today's aim in today's day and age This will never happen not with toy laws and things. They are now So, you know, I really like to impress him with you know the fact that he turns into a very realistic looking gun Now when I was a kid not only did I play with Megatron as a transformer, you know He fighting Optimus Prime and the other Autobots. I used this guy all the time when I was Role playing with my friends. He was my gun when we're out playing cops and robbers or whatever We did back in the day that didn't trigger people back then and I always use my Megatron I pull his legs down like so so, you know, I Can do it I'm afraid to now, but I would slap the legs back up like I'm loading a clip into it So yeah, I love this guy. This is one toy an old toy that the shine has never wore off literally a Beautiful figure and a highly recommended figure if you're a G1 collector. So Barry Shaw I hope this is what you were after and I really enjoyed doing this. I love showing off my Megatron figure Now if you guys have a figure that you would like to show off an old figure that the shine just never wore off of Please submit your video to and check out the transformers YouTube community It is a group on Facebook. I know some of my fellow youtubers don't do Facebook for those of you who do I will put a link in the description of this video and at the very end. I'm going to link Barry Shaw's original Posting so you guys can take a look and take place or take part if you will you can tell when I kind of Spout these off and don't have a script lined up. But yeah, this is my number one favorite transformer to show off 1984's generation one Megatron Guys, if you like the video, don't forget to like and as I said before don't forget to subscribe Help me out and help me reach 2000 subscribers by TF con at the end of October hashtag 2000 by TF con guys. This is patriot prime signing out who I