Okay, I'd like to begin by acknowledging the land on which we gather, it's the traditional territory of the Anishinabeg and Haudenosaunee people. Today I'd like to talk to you about the ethical edges. Who's being left behind? Slipping through the cracks. Why? How do we reconcile that and what is doing enough? I'm an American. I was struck by the practice of the acknowledgment of the traditional territory at the beginning of each meeting that happens in Canada. I live in Canada now. It surprised me and it surprised me how it made me feel. I felt more connected to the land in a deeper way, tuned into indigenous history on the land and acknowledgment of that matters. Maybe even more so and more accurately than the thanksgivings we celebrate. I'm going to do things a little bit differently today. Stick with me. If at first it doesn't make sense. And let it wash over you and pay attention to what sticks. These are barnacles. So I might say something that you think, hell, yes, that's a barnacle. I might say something that upsets you. That's also a barnacle. So let it wash over you. I think remember those barnacles that stick with you because I'm terrified of awkward silences. So if we have a chat or we have time to chat, please tell me what your barnacles are.  I'm going to talk a lot about black culture and indigenous culture in this talk. I still question whether I'm the one to tell those stories and I'm uncomfortable with telling those stories, and I think that's where we should be at the uncomfortable place. We should talk about the discomfort. I'm telling them from my perspective and my experience of them, and I don't mean for you to compare the stories. Again, let them wash over you. So uneasy is where I'd like us to be. There are a lot of elephants in this room. Our world is ripe with inequalities, discrimination and systemic biases. The so-called playing field is not level. All men and women are not created equal. Our unalienable rights of life, liberty and the pursuit of happiness remain in reach of only some. So we have me too. Black lives matter. Occupy. And our right to education is not universally enjoyed. Some things aren't changing. We're still very much human. Some of us are scared to say things out loud. Some of us have power. Some of us still don't have power. So how does inclusion happen in that context? Where do we see it? I argue that we see it in each of us in our intolerance for failure. So what's your tolerance for failure? What I mean by this is at what point do you, with eyes wide open, knowingly draw the line and say to yourself, this is the best I can do. That's enough. This is as much as I can do. Who can we tolerate failing? We don't ask that question very often. We often talk about who we can help. I want us to ask ourselves who we're comfortable leaving behind. The thing is we all do this. We all draw lines. We all make a determination of what level of failure we're okay with. We all do this, but we don't talk about it much. We all make decisions every day, all day long. Does anybody's phone look like this? This is speaking about an intolerance for failure. We design our fun, we design our lives, our priorities, our minimum, our maximum, our ethics, and therefore our tolerance for failure. How many design decisions did you make today? How much tolerance for failure do you possess? So this is a picture of alarms every 15 minutes on an iPhone. But this is trivial. When we make decisions that impact others, the stakes are higher and the ethical implications are enormous. So I ask you, what's your tolerance for failure in education? Shui, draw the line at race. I think Bob Casper, Laurel Trenovitz, Michael Strickland are going to talk about this today in their session, Who You Calling Racist. Shui, the draw the line of disability. Carl Nelson, Louise Perez, Lynn McCormick, Cheryl Constantini, Melanie Morris, Joshua Mitchell, Michelle Reed, tell us the stories about who we're excluding by drawing the line at accessibility and disability. Shui, we draw the line at a particular socioeconomic status. I'm pretty sure we're going to learn about this today from Jacob Jenkins, Jamie Hannans, and Jill Liefstead. When we talk about the historically underserved groups, the repeating cycles of exclusion. Shui excludes certain geographies. This is a global community. We've got a presentation on the North and South on Twitter from Terrazina Marcones and Denise Biazzi. Tell us about this relationship. I've probably murdered all your names.  English speakers only, especially in North America? My dear Sylvia, Urgos Politis, Elizabeth Goodman, Cecilia Vila, Jorge Baca, Laurel Mancera, dígame las historias de los estudiantes. Tell me the stories about the students. Kent's telling a story about Lansing. The stories stick with us. I'm not going to show you data. That doesn't stick. Who's the education available to? Context has always mattered. When we talk about education, we often do it in the abstract. We're educators. We educate students. We do so in institutions of education. I want to get deeper into that. I want us to talk about the context we learn, teach, and grow in. So this is the journey I'm asking you to take with me today. The way things begin matters. This is a picture of ancient Greece. In ancient Greece, education was for wealthy men. The foundations of all thought, including ethics, excluded anyone else. Women were excluded. The poor, the middle class. Most of us say education should be available to everyone, but we know it isn't. Obviously, some progress has been made, visible when we see who has access to education now. But is it enough? Are we comfortable with 90% access? Or what about 80% access? I want to argue that while some of these questions might make us uneasy, make a squirm, we all decide where to draw the line every day, in admissions decisions, in class policies for attendance, in the cost of textbooks, in the cost of education, in our willingness to make alternative formats, in the way we talk about students, in the way we determine success. Yeah, the technical decisions we make, the decisions we make in boardrooms, and the way we talk about the people that we're working with have an impact. And it's an impact on the chance for education, their access and their exclusion. People draw the lines, the ethical lines. We always have, and we always will. And throughout history, we have on notable occasions proven ourselves to be pretty terrible line-drawers. The ancient Greeks and their wealthy men only line? Pretty sure that was a bad line. This slide is one that Jose Antonio Vargas delivered to Defiance ML. It's a shocking slide. It's upsetting to many of us. People draw these ethical lines, though, and the point of this slide is that they call them law, and they do it as acts of power over another. These are not good lines. This says, the way things begin matters, apartheid was legal, the Holocaust was legal, slavery was legal, colonialism was legal, legality is a matter of power, not justice. These are seriously bad lines. We are really bad at some other things, too. I mean, we still get causation and correlation mixed up. We think tall people are more capable than shorter folks. We're a mess of fantastic uniquenesses, gnarly biases, and a sense of being reason-driven. We're so silly. And it's dangerous. So, who's education available to? And so, let's take this journey through stories that occupy my mind, where the Lions have been in our recent past and where they are today. A few weeks ago, some of you attended the Open Education Southern Symposium in Fayetteville, Arkansas. A few hours away from Little Rock is where my parents live now. It was in Little Rock in September 1957 that the Little Rock Nine, a group of nine African American kids, enrolled in an all-white public school. The governor of Arkansas brought out the Arkansas National Guard. The president of the United States intervened and students were escorted to school by the U.S. Army. Those students were tormented, bullied, harassed for years, not for a day or two, for years. What was their educational experience like? What did they learn? In between this slide, and this is a picture of one of the Little Rock Nine, and this next slide I want you to, in your mind-imagine, Kent State. So, if you drive six hours north and a little east, you get to my hometown in northeast Missouri. I grew up not far from the Mississippi River and rural farmland. To give you a sense of the community, the local high school would often clear out, especially of young men during the harvest and at the beginning of deer season. I see some nods. And when I think about my childhood there, I think about Cliff. Twenty-three years after the Little Rock Nine, Cliff was in kindergarten with me. It was 1980, and he was the only black child in our school. In his first week of kindergarten, Cliff was called the Unward. I think about his mother who had to give Cliff the talk. I'm not talking about the birds and the bees talk. I'm talking about the one that comes much earlier than that for black boys. The one where his mother explains to him how the world sees him. I think about him in his home before school begins, reaching for his favorite hoodie sweatshirt, pausing, remembering what this culture thinks about him, and black boys and hoodies, and then taking it off for a more appropriate shirt. He was in my school. He was in my grade. He was in the room next door to me, and my mom was his kindergarten teacher. So where's Cliff now? I don't know. What was his experience with education? Why am I here and he isn't? These are lines. These are the lines that we, as people have drawn historically. The Little Rock Nine is the changing of an ethical line by force, in one case. The reassertion of that line 23 years later in my kindergarten class with Cliff. Lines are a matter of power. All right, this is getting heavy. So we're going to go to Donkeys, or mules. So this is a picture of mules that carry the U.S. mail into the Grand Canyon, two hours into the Canyon to the Supai Reserve. I have micro-obsessions. I always have. I went through a U.S. Postal Service obsession a few years ago. Lately, I've been obsessed with making the perfect hamburger. I'm very close. I got really into the dividing of the momma bells and the baby bells and telecommunications history. I want to spend some serious time this fall practicing tying knots. And I went through a Nikola Tesla AC DC moment. So being here on top of Niagara Falls is pretty huge for me. I mean, this is where the war happened. AC beat DC, Tesla beat Edison, and the rest is electrical history. Join me with that micro-obsession. But the micro-obsession I want to talk to you about is the deep dark path of ethics I've been wrestling with forever. Why some and not others? Why this decision and not something else? Why are we happy with the line here and not there? I recently rewatched the Ken Burns documentary called The West, and it led me down a deep, dark path of ethics. The film might as well have been called the systematic eradication of the Native Americans. This is a quote from Chief Plenty Coop, it's a crow who said, education is your greatest weapon.  Without education, you are his victim, and so shall remain all your life. Study, learn, help one another. Remember, there's only poverty and misery in idleness and dreams. But in work, there's self-respect and independence. But education wasn't really available to Native American kids. Their education came in the experience of the white man coming in and killing an entire buffalo herd. Now the tribe had no source for food. Now the tribe is lining up to get food from the government. Children were separated from their families and forced into schools where they weren't allowed to speak their language or reference their culture. People would go through the signing and breaking and re-signing of treaties every year or so. And this isn't just old news. About an hour from here is the Six Nations of the Grand River First Nations Reserve in Southern Ontario. This woman is Io-Karentha Thomas, a university student and a mother of five who's lived without running tap water since the age of 16 or children lack access to things commonplace elsewhere like toilets, showers, baths. For washing, they use a bucket. I'm looking forward to Joanna Fong telling us more about marginalized Indigenous communities in Australia in her talk. Listen to her stories. Flint still doesn't have clean water. I've often been interested in the social and political messes in the edge cases. I studied philosophy in undergraduate and graduate schools, but there was something I didn't get in the 20-page SAA assignments about the Nicomachean ethics. So I went downstairs, literally, into the basement of my school's library. Inappropriately squirreling myself away in the music library, micro-obsessing about Dylan and Baez in Vietnam. And don't get me started on Woody Guthrie in the Dust Bowl. Another micro-obsession. I think I need to talk to Emily Cox. We don't know each other yet, but I think that you might be the only person who can help me with this micro-obsession with music in your talk about open ed and intro to the music industry class. Emily, find me, please. So the basement, the music library, it led me to learning about New Orleans native sons, the Marsalis, or I call them the Marsali, the Nevels, the music up and down the Mississippi, muddy waters, old man river. I was procrastinating horribly on learning a ton, and my grades were lower every spring term because the New Orleans Jazz Fest overlaps with finals week. It was torture. No, I'm not a musician. I didn't study music. I just happened to go to school in New Orleans, and the context shaped my micro-obsessions. These diversions into the basement music library brought me to further rabbit holes of wonder. I swam around in culture and art, Baez and Martin Luther King, Alvin Ailey's revelations on the top, La Amistad, the slave ship, the rebellion on the bottom, strange fruit, and I'm pretty sure that this educational background made me obsess a little bit more about Beyonce's Coachella 2018 performance. I can't wait to read the dissertations coming out about that. Art and the social and the political and the educational and the music all together. There was no class for this. There was no major. I wanted to drink it all in until my next micro-obsession kicked in, which was catching a frisbee behind my back. I did that next semester. But New Orleans is a magical city. It gets in your bones. Southern decadence drive through dequeries, the music, the will to live, the resistance, slavery, subjugation, centuries of pain and suffering. Those stories stuck with me. I maintain I was designing my own education, a kind of game of following curiosity, chasing rabbits down to holes and exploring. I was having fun, and I was learning how to draw my ethical line in the sand. You know this guy. And this is true for so many of us. Kent McGuire said, I learned deeply in spite of schools so much more than because of school. Wish it wasn't true. Determined to fill up that today for today's students. This is true for so many of us because the ground isn't level. And to learn to draw our lines, we need experiences. This is a quote from Jesse Strongwell and Shawn Michael Morris, this new book, An Urgency of Teachers. I urge you urgently to go and read this book. Those experiences that we need are the stuff of exploration, discovery, wonder, epiphanies, and mistakes. So there I was, this young woman, one of two undergraduates, both women, applying to graduate school and philosophy. My ground was shaky. I was closeted. I was in the basement listening to music and I didn't know how to do this stuff, the stuff of learning without the expectations, within the expectations rather. There were advisors. There was the undergraduate advisor who said, you just don't suffer for it. You don't have something in you that compels you to do philosophy. I don't think it's for you. Look at you. You look normal, healthy, uncomplicated. Oh boy. He was an alcoholic in grad school. The other undergraduate has not been well. They were suffering, but he missed it. He missed an opportunity. Just like philosophy is not only those who are suffering. He drew the line wrong just like the ancient Greeks did. It's not just for men and it's not just for people who suffer for it. This is the foundation of all knowledge. I ignored him after a good bit of time licking wounds and feeling miserable, which is to say I overcame him, but never forgot what he said. And still for others, resilience takes much more overcoming. I want to tell you about Damon who went from being in a very bad crowd and dropping out of high school to getting his GED, going to night school at a private university, transferring to the university's engineering program, getting a master's at an R1, getting a PhD at an R1, and then getting a tenure track job. He's unusual. There are other daemons out there, but that guy is special. He's driven, but the obstacles he had to overcome, the people who actively stood in his way, the professor he admired that said he didn't think computer science was for him. He thought Damon should give up his dream of getting into the engineering school. Damon's experience of walking back to his car from the library, catching the campus police. You guessed it, same library. The utter lack of diversity anywhere he looked. They all stood in his way and said, give up, this is not for you. You don't belong here. I remember wondering what it looked like to him. By and large, the people of color on our campus were in the service industry. They were serving his food in the cafeteria. Damon was my best friend in university. He was the first person I came out to. We were a young, distractible lesbian from a very small town near the Mississippi and a young black man. From the other end of the Mississippi and Kenner, Louisiana, with a GED and a dream of being a university professor. Kind of sounds like the beginning of a joke. Damon would like you all at open at 18 to know that if he were a superhero, he'd be Iron Man. Because he has a cool lab and nearly unlimited funding. This guy is so nerdy, I love him. This is Dr. Damon Woodard, University of Florida, Department of Electrical and Computer Engineering, a tenured professor. And standing next to him is Dr. Tempest Neal. She's a first of a lot of things. She's the first African-American woman to receive a doctorate in computer engineering from the University of Florida. She's Damon's first PhD graduate from the University of Florida. And she's his first graduate to join the academy. She just began her first semester as an assistant professor at the University of South Florida. She works on some really complicated stuff. So the changing of that ethical line in one case, the reassertion 23 years later in my kindergarten class, the eradication of a people and their life as a starting point, and the dissuasion of a young black man trying to climb. We know folks don't have the same opportunities. We know the ground isn't level, and especially in Louisiana, the ground is under sea level in many cases. Well, I was going to play you this amazing song by Randy Newman. It's called Louisiana 1927. Chuteau and Marsha Ball, for those of you from the South, did a nice version. Aaron Neville did a wonderful version for people from Canada. Jolie Holland, the co-founder of the Big Utanias, did a lovely version. The chorus is they're trying to wash us away. So this is about the great flood in 1927, where a million people lost their homes. What happened and what this song captures is that some bankers in New Orleans, white rich bankers, decided to dynamite a couple of levies in poor and less populated towns. They dynamited it, and then the next day realized they didn't have to do that, but it was too late. Those people did not get any compensation. They got no homes. This actually created the great migration of black people from the South to the northern cities, to Detroit, to Chicago. This is this enormous migration, this enormous cultural moment, micro obsessions. Open Ed, where do we draw the line in 2018, 2019? We've got digital redlining. Who is authoring our OERs? Who's publishing? Who can publish? How are technologies decisions being made at our institutions? And we aren't just talking about who gets in the door, literal access. We're talking about who comes with a full belly to class, having had breakfast. Who sees themselves in the stories they read? Whose voice is heard? Whose voice is heard in the world? What does the advisor think about who is fit for graduate school? This is a social development goal. Number four is to ensure inclusive and equitable quality education and promote lifelong learning opportunities for all. So I think it's time we got a little uncomfortable again. We're achieving so much as a community. We need to do more. We need to celebrate the successes and then we need to look at where we drew the line. Is open licensing enough? Ethan Sennach and many others who just know is open content enough? Jesse, Sean, Rajiv, Robin say no and they push to open pedagogy. Is most students enough? The UN says no, it should be all. It must be all. I'm going to say something that might be controversial if I haven't already. In this community, we have many open textbooks with more to come. We're doing great there. We have great progress on open content and open licensing and we have a rich group of really smart people working toward open pedagogy. The work isn't done. It's never done on any of those. But the area that we don't have pretty much any work done is open dialogue. We don't know how to have tough conversations. We don't practice productive critique. We as a community don't talk about the hard things, the elephants. We don't talk about the institutions that say it's too expensive to make accessible content. We don't talk about how we don't know how to hire for diversity. We don't know how to talk about sexual harassment in a productive way. And why won't someone do a session at OpenEd about Mormons and OERs and about why so much leadership in this community is coming from Utah? Incidentally, if you want to learn more about Mormons and Utah, the struggle to get to Utah you want to know that context and that story, go watch that Ken Burns documentary The West. You'll learn something that I bet you don't know. Nothing is neutral. We make design decisions all the time. I was in a session that Rajiv gave at another conference. There was an educator there who taught at an institution in the UK and his college was in a poor neighborhood and he was using his own open textbook and he would make edits to it and then ask the students to download it again. He didn't realize until that session that he was actually contributing to digital redlining. Each time he was expecting his students to download the latest edits that he had made, the latest tweaks, he wasn't thinking about the impact on their digital usage and on their families. So let's be transparent about all of this. Ask the questions. What's the role of capital? Whose voice is being amplified? Whose is being diminished? What's our tolerance for error? What's our demand for transparency? What about privacy and representation? Billy, Mikey, and Steele, Wagstaff are going to talk to us about privacy and data in their session. I'm going to blow through this quickly. Barbara Chow presented this slide at an event maybe last year, a couple of years ago. Diversity is a number. Inclusion is a process and equities and outcome. And we know that inclusively designing things or thinking about inclusion fundamentally gets at issues of diversity, equity, and inclusion. It requires us not only to change our methodological approach, but to examine our own individual biases. We are beyond the point where we have to think about edge cases. If you aren't thinking about it and you aren't hiring for it, please see me later today. Do you walk into a room aware of your privilege? If you wake up in the morning and don't find yourself plagued by issues of diversity, equity, and inclusion and education, then you're probably walking with a chip of privilege. You should find somebody who will help you see that in a productive way. I don't mean to be a downer. This is the up part. Open education can help change these issues. Open education is the reason I learned about Ted. I met his wife at OE Global in Banff, Alberta a few years ago. He stuck in my head. He's a farmer. He's painfully shy. He has a learning disability and he hated school so much he dropped out of it in high school. His wife is an instructional designer at Portage College. By her own admission, she can't make it through a MOOC. That's me too. She has yet to complete one. He's completed over 20. He loves them. He comes in from the fields at night and he works on his courses designing his own education at his own pace to his own preference. This is open. This is a picture of a young girl at a STEM event for young girls in Guadalajara, Mexico. She's holding a comic book picture of me. This kind of makes my heart burst. This comic book is the hard work of Kelsey Merkley who's given us on Common Women these comic books. And a colleague in the Open Movement, Angie Contreras, brought these back home and had this event for young girls in STEM. So these young girls see women working in technology they see women who look different working in technology. This is how change happens. This is open. Truth and reconciliation. Kathleen Nguyen, the previous liberal premier in Ontario promised in 2016 Ontario schools would teach all children about the legacy of residential schools and would incorporate indigenous perspectives in the elementary and secondary curriculum including social studies, history, geography, and civics. When Doug Ford was elected premier that effort was abruptly cancelled. The Ontario Institute for Studies and Education responded with a large list of open materials that teachers could use to teach this material. It's an open list that anyone can add to. Once this information is open you can't box it back up. This is open. This is Ria Bhatia. She's a young woman from New Delhi, India. She applied to our Google Summer of Code program this year and was selected for her proposal for our project. We asked her to create a game for children who use eyes, eye gaze. And think of eye gaze as like a mouse that you move with your eye movement. It's for someone who has very limited motor control and they use their eyes for on-screen keyboards and for controls. So imagine typing out this talk using an eye gaze. It's laborious. And so a lot of the games for children who use eye gaze are binary. They're this answer or that answer or there are a few selections. These kids miss out on exploration and discovery and we know how important that is to children into learning. So Ria created this adorable game it's called Spy Find. Think of it as like a good night moon meets animation with spiders. And she sent me a message this weekend. It said I wanted to share something with you. I got the prestigious Google Women Techmakers Scholarship 2018 from Asia Pacific region. They asked me about Spy Find during the interview and absolutely loved it. As a part of the scholarship I'll be visiting the Google office in Singapore next week. She's amazing. This is open. If you'll humor me everybody please stand up.     Thank you.  If you're a woman in a senior position and you're in a position to help a younger woman to mentor her what are you going to do? Okay cool. This work doesn't stop. It isn't a task. It's a practice and we need to push ourselves further. If you're only having diversity, equity and inclusion conversations and DE and I spaces we need to have them all the time. We need to have them everywhere. If accessibility bugs are not blockers yet if your events are held at spaces that aren't accessible or your keynotes recorded, captioned live captioned or your lectures who's going to say we need to talk? We need to figure this open dialogue thing out. The trouble with keynotes don't listen to me after you've been listening to me all this time be aware of the entrapments of the sexy slide deck I'm really glad that Kent and I did not plan this but he's right this has become the currency of our field now the high resolution pictures and the fancy fonts who does it exclude and who benefits from it so who should you talk to and listen to I just can't give you a bunch of names I'm going to make all these slides available these folks too okay so Todd Rose Sasha Constance Chalk Chris Borg Sean Michael Morris Jesse Strong Tara Robertson The Open Textbook Network Mahabali Michelle Reed Rebus BC Campus Uncommon Women Open Stacks listen to children listen to moms listen to LGBTQIA2S if you don't know what that is Google it listen to BIPOC if you don't know what that is Google it I'll tell you that one it's black indigenous people of color listen to people you disagree with listen to your curiosity listen to your gut open is the way we fix this folks this is what Ash Dryden said at the CC Summit a couple of years ago it isn't the job of people who are marginalized to help you understand how to include them don't ask how can I include you just do it it's all of our jobs every student UN SDG number four it's our job to be curious open and inclusive and to listen more don't forget the lines the Little Rock Nine Cliff Io Corenta Thomas Damon these are the lines that we make that are a matter of power also don't forget to celebrate the successes Farmer Ted Las Niñas Truth and Reconciliation Rhea Betia these are the example of the access to education that is power it's inextricable from issues of social justice the openness of things matters this isn't a difference of opinion between the pragmatists and the principled we're all both this my friends is an ethical battle we are all waging within ourselves to decide where to draw the line now let's talk openly about where we draw it if you clump together this week at Open Ed you won't benefit from the stories you all have if you know everyone in the circle of people you're talking to turn around and find someone you don't know don't get yourself into the situation with the usual suspects adjuncts where are you adjuncts are here students where are you grad school dropouts see me later I'm one of you outsiders misfits and the usual suspects unusual suspects make yourselves heard and seen this week tell the stories you all belong here this is open and remember to push farther I worry about the queer kids I worry about the BIPOC folks 1865 for the 13th amendment 150 years later how we doing I worry about how little has changed I worry that we don't exercise a Hippocratic oath in education and do no harm but I believe that changes with all of us wrestling with where we draw the line we are the people who decide where to draw the line I'd like to thank the Open Ed community program community for inviting me to speak today I'm not sure why you didn't thank you so much I hope I didn't disappoint you I'm deeply honored and I'd like to thank David Wiley personally for being so open being so kind and continually doing all the work and finally to those who never get justice who start below zero who don't enjoy the benefits the many many benefits we are coming hang on this is open thank you


Hello everyone, every year on 3rd of March we observe World Hearing Day. So for this year the WHO theme is to hear for life, listen with care. So what is the key message? It is possible to retain good hearing throughout our life if we take care of our ear. Because most common causes of hearing loss are preventable including the hearing loss due to exposure to loud sounds. So safe listening can mitigate the risk of hearing loss which is due to occupational exposure or due to recreational sound exposure. So we are talking about noise induced hearing loss which is caused by occupational hazards like in mechanics or heavy machinery drivers and in factories. Or it is due to recreational activities like that is called social excuses due to spending lot of time in video arcades, bike racing, car racing, rock music which can all harm the ears. Actually there is a law which states that a person can be exposed maximum up to 90 decibel for 8 hours per day maximum 5 days in a week. This is something that should be followed especially in the factories. So what is the target group? So this is the policy makers, the factory owners, the venue owners for the event management. Also the general public including the young adults who should be listening to this and trying to follow this. If someone develops a noise induced hearing loss how do they present to us? So it is basically not causing much of a problem in the initial stage because this affects the high frequency and our normal conversation is in low frequency. So the person is able to manage all his routine activities without much trouble. What brings them to us is usually when they start developing buzzing sound in the ear that is called tinnitus or they feel some kind of block in the ear as if there is cotton in the ear. And during examination also we find everything normal including the tuning fork test. That is why when there is a high element of doubt it is ideal to do pure tone audiometry which will pick a particular dip at 4 kHz in the initial stage. Whereas in later on other frequencies also will be involved and the hearing loss will progress. So in high risk group it is mandatory that they undergo annual pure tone audiometry. So how to prevent this? So there are three ways in which we prevent noise induced hearing loss. One is to improve the technology so the noise is reduced at the source. Second you can create barrier around the noise that is by using sound protection or sound proofing. Third is to use ear muffs or protective devices, ear plugs wherein the working personnel can reduce the noise by further 20-30 days. So it is important to spread the awareness among the high risk individuals and make sure their employers make the serial audiogram annually mandatory and they follow all the legislations and social excuses also is something that we should spread awareness about in the young adults and try and prevent it. Unfortunately if someone has developed noise induced hearing loss is there any treatment that we can give? It is possible to provide them with hearing aid unfortunately they do not tolerate it well. As we hear in medicine prevention is better than cure but when it comes to noise induced hearing loss we say there is only prevention and there is no cure. That is why we say voice ears last for a lifetime. So on this world hearing day I would like to insist to hear for life listen with care. Thank you.


Hey guys, Kai Vertigo here. And if you're watching this, chances are you've probably already seen some of the incredibly mind-blowing footage that FPV drones are able to capture for both online and the big screen from diving off of buildings to chasing cars like a video game. And you may have gotten so inspired that now you want it on the action. There's just one issue. Okay, maybe not just one, maybe a couple of different steps that are stopping you from flying like the next Captain Van Over or Nerf. From building, programming, soldering, testing, crashing, flying, crashing again, filming, it's quite a tall order just to get up in the air. But the good news is that the barrier to entry is gradually getting easier with every new improvement and update that the community and the company supporting FPV are putting out there. And this week, GoPro just launched some incredible new updates, not just with the Hero 10 Bones, but also with the official launch of the real-steady GoPro Player. So today we're going to talk about how it's going to change the game, if it's worth it, what it means for the FPV community, specifically the cinematic FPV community, and what it means for you. For those who don't know, real-steady is a post-stabilization software designed by alien geniuses Andy Russell and Robert McIntosh for the purpose of taking even the most terrible, shakiest GoPro footage and turning them into the smoothest, most cinematic, buttery masterpieces imaginable. Alright, now let's watch a clip of a non-real-steady video next to a real-steady video, and you're going to see that even when I'm doing quick jerks, I recorded my thumbs just so you can see it, it's actually not super smooth, real-steady does what it can to actually make these points very buttery somehow still. It's such a good software, it's very, very smart, and it can save your butt a lot of times. I'd be lying if I said that real-steady was not a huge part in enabling me to do FPV work professionally faster, because I wasn't the best pilot, I'm still not the best at tuning, and I'm still not super stable on the stakes, but as long as I'm piloting well enough, then real-steady can help me attain the shots, and all the shakiness is not something I have to worry about. The footage will take care of it as long as it's within the primers and you set it up properly. But as good and as revolutionary as real-steady go was, many pilots who fly FPV professionally, like myself, can say that real-steady go was still an unfinished product. You need an internet to make it work, so if you're on set or outside in a place without connection, you can't use real-steady and show it to the client. And even if you wanted to show it to the client, there was no real-time playback. It would be chomp, chomp, frame by frame, frame by frame. You're screwed if you don't follow the format to the T, or for some reason sometimes I just have random errors that wouldn't let me real-steady my cliff, and that actually ruined a lot of shots for the productions I was on sometimes. But because of just how great Robert and Andy made real-steady go, GoPro actually decided to pick them up and take their product to the next level. Let's jump into the computer now and I'm going to show you guys some examples of how real-steady GoPro player is going to just change the game for FPV pilots and cinematic flyers. So we're currently in real-steady go, which is the predecessor to the real-steady GoPro player. It's pretty straightforward. Load video.   If you didn't turn off hyper smooth, you're going to get this message. Boom. Cannot stabilize. In-camera stabilization was used. Oh no. Your clip is screwed. Let's say that you were smart enough to turn off hyper smooth though. Okay. Let's do it. Click open. We're in the numbers. We're going to count. Okay. We've got image. That's pretty cool. I thought when I got a better computer, I have the M1X MacBook that the playback would be faster, but that is not the case. Real-steady GoPro software is just slower. The playback is cool. I like to see things frame by frame to be honest. It's kind of cool, but it's not great for having the best idea of what your video is going to look like once it's processed. You won't know until it's processed. You can't watch it in real playback until then. All right. Let's say I want to render this out. I'm going to make a very short clip just so you guys can see. It's probably going to be like 10 seconds. I'm going to hit save video. Boom. Output video will not contain audio. So that's another thing. If you do decide that you want to cut and trim your clip in real-steady go, it will not save the audio. And that can be bad for some situations, especially when you want to synchronize sound or something like that. All right. It's done. And so the video you're seeing on screen now is the footage that was rendered by real-steady. Very, very short, but it took almost two minutes. Looks good. Looks great. The actual product is excellent. There's nothing wrong with it. It's just it takes a lot of time. And I can't render multiple clips. Look how many clips I have. I have four clips. Let's take a look at the new GoPro player that GoPro has worked with real-steady on and compare it. Okay. So this is how it looks. It is very official. It is now acquired by GoPro. So the GoPro player is also what you use to manipulate 360 footage as well if you have a GoPro Max. So it's a double function. It's excellent. Let's go ahead and open this. This actually has hyper smooth on it. So it's really interesting. I'm going to put a side by side just right now so you can see what the real-steady video looks like versus hyper smooth. And then you can kind of tell the difference, right? You can probably see that hyper smooth is great, but it's still jittery versus real-steady. Take a look. And the best part is I just opened up the hyper smooth clip in real-steady go. So if I accidentally forgot to turn off hyper smooth, I'm not completely screwed. If this is real-steady go, your clip would not be able to be smooth post-process. So this is already really cool. And on top of that, watch what happens when I press play. It's real-time. It's playing in real-time and it's real-steady before I've even rendered it out. That's actually awesome. And it can even scrub so quickly. It doesn't take forever for it to load. It's so much smoother. Oh my goodness. I can even speed up. I use L. I can slow down. I can set my trim points like this. Let's say I wanted to cut it from here. 140. Okay. It's about 20 seconds. It's about double what we did in real-steady go. Let's see what happens when we do this. Export trim. Look at that. Okay. So we already have so many more options. Usually you would just click it and then you'd be done. You can change the smoothness, the copying speed. It's just like in real-steady go, but it's a lot faster. You can even change the lens correction. And this is the cool part right here. Take a look at this. So this is allowing us to render different codecs, which can be really, really powerful for different productions. AGVC is the highest compression. H.264 is the standard. And then this is crazy guys. I did not expect this to be here. But this is ProRes. ProRes is a codec that it's huge files, but it also keeps the quality like maximized. And you can really just color the heck out of it and do all these different effects to it because it really maintains a lot of quality, which is crazy. I don't recommend always using it because, like I said, it creates huge files. And we're going to, instead of clicking next, if we click next, it would just export. What we can do, we can send it to Q. Check this out. There it is. Okay. All right. Look at that. We have a Q now guys, which is super cool. If I wanted to, I could even take the other videos. Let's see what we're here. We also want to stabilize the first clip I shot. Boom. Just drop it in like that. We have to go to the real steady player. That's so much faster. And now I don't have to wait one by one. Okay. This is going to be incredible though. You're going to want to watch this. Okay. So this is only available to Apple on Windows. There's a different type of codec. I forgot what it's called. It's up here. I think it's like Cine something. But I'm clicking ProRes. Okay. Watch how fast this is. Boom. This is a five minute clip. It's already at 5%. It's going like four times faster than the 28 second clip, which I rendered out in H.264. So that's cool. That is super mega cool. This clip is going to be done in like a minute and it's a five minute clip. That is unheard of for real steady. I'm going to show you a little bit of the clip that I rendered out here while I'm talking. This was a ProRes clip and it finished in less than a minute, which is incredible. In the past, after a long shoot, I'd have to come sit to my desk, put my card in, and then I'd have to render out these videos one by one and have to sit by the computer in order to start the next video to render. Now that there's an export queue, I can just load them all in and just do something else. It's so great. I'm actually a huge fan of this, especially once you get to the points that you have a lot of clips that you need to render. This is a godsend. Real Steady Go used to cost $99 and before GoPro released Real Steady 2, there were speculations on how much Real Steady 2 was going to cost. But when they finally released it, they announced it with the awesome news that anybody who bought Real Steady Go gets the Real Steady GoPro player extension for free. So that means that there is no markup on price and you don't have to pay twice if you have Real Steady Go. So go and get that, if you already have it. If you don't have Real Steady Go, you haven't bought it yet and you're trying to figure out if it's worth it for you, the question to consider is who is this for? And in my opinion, Real Steady GoPro player is for any FPV pilot or GoPro creator who is trying to make their footage look more professional, smoother and cinematic. So if that sounds like you, if you want really buttery shots and you feel like you want to continue pursuing cinematic FPV as potentially an extra form of income, as a hobby, as an artistic endeavor, then this is for you. I highly recommend it and I remember when I bought Real Steady Go, $99 does seem like a pretty big investment for a piece of software, something you can't even touch. But to be honest and this is a bold statement, this is probably one of the biggest returns on investments I've gotten from something I've invested to in FPV. It has never really failed me, even though it wasn't perfect. It was still great and now that the fact that the better version is available for the same price, it is a no-brainer for people like us, cinematic FPV pilots and GoPro creators who want buttery, smooth footage.  You can still use GyroFlow, which is an incredible open-source software that's been created more recently that can work with a lot of other cameras besides GoPro. It's a really cool software. It's just more complicated, takes a little bit more getting used to. I'm still learning how to work it and I'm going to continue learning how to work it. But for the ease of use and for the clean user interface and just how smooth it runs because it is a GoPro software working with GoPro's, I am more than willing to pay the amount that they're asking for and it's a no-brainer compared to Real Steady Go because that was $100 too. This is the same price and you're getting so many more features and functions. I personally think it's very worth it and if you want to take a look at Real Steady, I'll link it below so you can go ahead and grab it yourself. If not, I'll link GyroFlow below too so you can take a look at that. And if you want to check out more videos and you want to learn a little bit more about FPV, take a look at these two videos right here that may or may not be relevant to you. Thank you for watching again. My name is Kai from Vertigo Vision and I'll catch you in the next one. Dance time! Dance time! Don't! Let me distract you from clicking these next videos. I haven't sessioned in like a week, so. Ha! Ha! Ha! Ha! Ha! Ha! 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And that's how I knew that they spent it, the way that they spent it. I never seen the show, like I said, but the Twitter and it was like, wow. So just limb system must be crazy.  I'm like, wait, so they put this on the show and I'm like, wow. That's, you know what I'm saying? And then that's when they told me that he was on the show. And I'm like, wow. So it's kind of like you trying to pair me, you know, against a music mogul. Yeah. Just little old me. Yeah. From New Orleans. In my opinion, that's what they use. Yeah, like it's always, but that's, that's a black man. Yeah, that's it.  They got 50,000 black men on the series that you didn't pull. Yeah, we on boss talk one on one, one on one. Yeah, we gonna talk. Let's put together before it was released. Did y'all see the whole thing in the documentary before it came out? No, we've seen it with y'all seen it. Like, so we had no idea what it looked like. We had no idea.  So no call, no, nothing. No, nothing, no, no type of, you know, how would y'all feel? Now, they came to us to ask us who we would want to participate. Yeah. And we gave them a list of people, but they added more. I'm somewhere along the line, somewhere along the line, it seems like some type of production switch up to me. And it seems like certain people put their hand into production. And when that happened, certain people got dropped off because from my understanding, it was an interview with Mac. Yeah, it was. That's that's what was told to me from that side. It was an interview that was with Mac. So how Mac didn't end up on it. So I think. I think a switch somewhere came, which is fine, because if I've always I've told everybody, I feel like if you can't beat it, beat them. They got to join you. You got to come on his story.   Yeah, I think I want. So I know your mom, has she watched it? My mom, my mom likes it. So my mom does like it outside of the part with him, but she already she told me the day before that she felt like they were going to go and get him. And I was like, no, honestly, she she told us that when we was trying to get her on, she was hitting us with these questions because you know how people live, you know, something like this is the conversation that she had with us. Do you think that Van Lathen did a good job? Or do you think you did a great job? I think Van did a good job. I think the show was a great show. But it was just some of the way that it was produced. It was messy, it was a bit too messy. It was, but like, all right, me and my auntie had a conversation before our episode even came out, you know, and we was talking about the message stuff and other people episodes, you know. So you knew you seen it kind of coming. She told me she was like, I'm not even going to watch it because I already see what is going on. Yeah, from the Magnolia Shorty episode. Yeah. From the Magnolia Shorty episode, I knew where they were going to be headed. Even when they did the interviews in the very first question that they asked me was about the video that I made about him. And I'm like, well, what does that have to do with this moment? You know what I'm saying? But you know, it is what it is. You know, and when it comes to it, it's all about the media and what you bring to the media. So if they're going to play the game, we can play the same game that they're going to play. Exactly. Like when I seen it, I didn't even and I told you that I was like, I didn't even know nothing about that. Like when I interviewed you, think about that. That's why we didn't ask you about that. I didn't know nothing about that. I didn't care. I just cared about your brother. That happened way before we interviewed you. So when I can't interview you, think about that for a minute. We didn't even, we looked up, we never looked. I talked to you because I seen you with K.L. Yeah, right. And when I talked to you, it was like, man, I got to meet her because I see, I had seen that Beehive episode. I said, man, I should be, I got to interview her because I know we interviewed different. So I knew it would be home field. I don't know, I can't explain it. I know we're not the same as everybody else. I'm telling you that. So we knew it was going to be different. But when I interviewed you, it was more to get to know you. Right. Get to know your brother. Now I was going to ask about the time when all that happened, but in a way that it came from your perspective. Right. And I think that's where you, what you're saying too, like when I looked at that, I really just, and I usually don't give my opinion, I usually try to stay neutral. I thought about the way they projected you. I'm being real. Yeah. So they spent it to make it like I was a psychotic and that I was throwing around claims, but we going to bonk this claim at all costs by bringing the opposition in. Right. So that's what you spent it off. And it's like, look, we was way past, you know, that whole situation. Like that was in 2020, I believe. So we was way past that. Like we didn't grow from that. We didn't pick up other things. I got a child. I got, you know what I'm saying? So we're not going back down that route. But for them to bring it back to that place and from the comments, when I did read some of the comments on Twitter and that's how I knew that they spent it the way that they spent it. I never seen a show like I said, but the Twitter and it was like, wow, Soldier Slim System must be crazy. She tried to say that he, this man killed him, dah, dah, dah, dah. And I'm like, wait, this what they put on the show? Yeah. Yeah. I'm like, wait, so they put this on the show?  And then that's when they told me that he was on the show. And I'm like, wow. So it's kind of like you trying to pair me, you know, against a music mogul. Yeah. Just little old me from New Orleans. In my opinion, that's what they used. Yeah, like it's always, but that's, that's a black man. Yeah, that's it.  They got 50,000 black men on this series that you didn't pull. Yeah. And now none of them, you didn't go get none of them. You got King Vaughn's sister telling you that young boy was a hater. You ain't gonna get him. But you put me, black woman, against a music mogul man. You see what I'm saying? Like that's what they talking about when they tell people every day how these people work, how they work this world. Yeah.  And they gonna, you gonna pair me against, I'm just me, but I'm gonna still to the end of the time, I'm gonna see what I'm gonna say. If they don't like it, then I mean, it is what you gotta take that up with.  The way you dealing with business. I'm powerful. He wants you to stand strong. I'm strong. If it has to be done, I'm gonna make sure that it's done. If it's gonna make them be less of a person, then I'm gonna keep doing it. Cause it's never going to wait. When I'm done with it, then I got a daughter. And when she done with it, he got children. So it's never done. It's just gonna keep on going. Because your brother was never a person to hold his tongue. Correct. Never. So that's why when people asked about him being on drugs, like we didn't have to go back and forth with them about that cause they'd listen to the music. He explained that he was on drugs, you know what I'm saying? At the time of his death, he wasn't nowhere near drugs. Wow. You feel what I'm saying? They didn't find that nowhere in the system. No. My brother, I was talking to him. He was a heavy smoker, just like me. Yeah. We smoke weed. You know, we smoke weed. Shout out to some dogs. Yeah, we on boss talk one on one. One on one.