Good evening. Can you hear me? Yes. Okay. All right. Thank you all so much for being here. Really excited to see so many faces. And for those of you joining us online, thank you for joining us. My name is Cecily Cullen, and I'm the director and curator here at the Center for Visual Arts. And I'm also the current chair of the Colorado Committee for the National Museum of Women in the Arts. I'll tell you a little bit more about the committee in a minute. But I would like to start by offering an acknowledgement of the space that we're currently occupying. The CVA acknowledges the privilege we have to gather in this place. Once the territories and homelands of so many indigenous people, including the Arapaho and Cheyenne nations, both of whom were subject to genocide and forcibly removed from this land. We respect the many diverse indigenous people still connected to this land, and we value the knowledge systems they have developed in relationship to their lands. We understand that offering a land acknowledgement neither absolves settler colonial privilege nor diminishes colonial structures of violence, either at the individual or institutional level. Land acknowledgments must be accompanied with ongoing commitments to displaced indigenous communities. To learn more about the spatial relationships of indigenous communities to lands, visit native-land.ca. So if you haven't been here before, I'm just going to give you a little bit of history about CVA. We are the off-campus gallery for MSU Denver. And as a branch of the university, we extend the MSU mission into the community. We do that by provoking dialogue about challenging issues of our day, locally and globally, through the lens of contemporary art. We believe strongly that art is a crucial form of communication that allows multiple entries to talk about social justice in ways that other forms of communication do not. CVA also works to provide access to vital art and experiences without a financial barrier to participate. That's why admission at CVA is always free. And that is why we always pay our interns, whether they're high school interns or college. And that's why we always pay artists to participate in exhibitions. So I hope that you find this exhibition and this evening's program worth supporting. And sorry, I do have some notes to read. So I hope that you'll sign up for our mailing list, stay in our orbit, and if you are able, consider making a donation or becoming a member so that we can continue to welcome everyone in for free. So you may have heard that this was the summer of women. In pop culture, at least, it was clear that the cultural contributions of women made a significant impact on the economy. But like Greta Gerwig's film pointed out, anyone who thinks that sexism is over is living in a fantasy or a Barbie world, maybe. The reality is that despite some important gains, parody is still out of reach for women in the art world. Gender plays an outsized role in who gets representation in museums, major galleries, and auction sales. When you factor in intersectionality, such as race and sexual identity, the disparity is even more stark. To demonstrate that, I just want to share a little bit about the Burns and Halpern Report that came out in December 2022. These two women, Charlotte Burns and Julia Halpern, have conducted large surveys three times of American museums in the global art auctions. In the latest report, they found that between 2008 and 2020, only 11% of museum acquisitions were of work by female identifying artists. And only 0.5% were by black American women. Auctions were no better. Only 3.3% of work by female identifying artists were sold at auction.  So as much as we like to see celebrations like this exhibition, the reality is that we're still far behind and we're generations behind. They estimate that we won't have parody for another 30 years. An important part of that conversation around equity, CDA has mounted another exhibition in our student-run gallery behind me. The 965 Student Curated Gallery currently features an exhibition titled Fluid State that examines and expands on the constructs of gender and identity. Our student curator, Christy Zaragoza, organized this exhibition in response to Colorado Women to Watch. I hope you have a moment to check it out. It's really a great show. So now on to Colorado Women to Watch. This exhibition is a celebration and an entreaty, demanding that the world pay attention to and support female identifying artists. Kim Dickey, Ana Maria Hernando, Maya Ruth Lee, Tsuchitra Matai, and Senga Nangudi each have created a visual language that is poetic and transcendent. Their work is complex, intelligent, and powerful. Their achievements, despite barriers, are inspiring. And they've each been nominated for inclusion in an exhibition in Washington, D.C. at the National Museum of Women in the Arts. That museum works to balance the scale of opportunity and equity by bringing national recognition to female identifying artists, and they invite committees from around the world to nominate artists for consideration. The Colorado Committee for the National Museum of Women in the Arts was founded by nine women to ensure that female identifying artists from Colorado are recognized and supported at a national level. The committee had the great honor of working with Nora Burnett Abrams, the Mark G Falcone Director of MCA Denver. Nora selected the five nominees. So many thanks to Nora for her leadership in selecting these amazing artists, and to my colleagues on the Colorado Committee for their great work on behalf of women in the arts. Before I pass the mic over to Nora, I just want to say thank you to the staff at CVA. They're small and mighty staff, and they're incredible, and they do amazing work and spent all day setting up this talk and getting it prepared for the online environment. So thank you all of you. I'm honored to work with you. And I also want to thank the CVA Leadership Council, our advocacy board, that helps bring new people into the fold, and helps us build our fundraising. So thank you to all of you as well. And with that, I am pleased to introduce Nora Burnett Abrams, the Mark G Falcone Director of MCA Denver. I want to start by certainly thanking Cecily and her team for organizing and inviting us all to be here tonight. I have to say that it's been such, and I don't get to say this as often as I would like, it has been such a fun experience to work with all of these incredible women and creative and creatively ambitious artists to continue to learn from and be inspired by and be provoked by your work and just you as human beings. And Tsuchitra, of course, is wrapped in all of this as well. So I wanted to say first and foremost, thank you. I had a whole list of questions that I had prepared and sent to Cecily last week that I wanted to kind of use to anchor our conversation together. And then I read a review of this show in the Denver Post, and it really kind of like, I don't know, it pricked me a little bit. And I'm sure some other people here as well. And so I wasn't going to lead with this, but I just feel like it's so, it's really on my mind, which is the extent to which all of you artists are thinking through your work as women, as female identifying, and to what extent that is a useful and productive and generative lens for you or not. And really where I hope to kind of take the conversation is to what extent do you find that there is still a need for kind of gender based, organized as the organizing principle, gender based exhibitions such as this one, or are we kind of in a moment where perhaps that's no longer a useful construct? And I open it up to all of you, whoever wants to respond. Hello everyone. Is this working? Hi, this is working. So after I read the article, I was thinking about it. And of course, you know, for all of us, for me, my work is so much about the feminine. And I do, you know, in all of the things I do in my work, it's because I'm curious and I want to learn as a person. And I guess that's how I made my work to learn more about these things. And I read the article. And I think it's so wonderful that we can talk about these things and what it means. And gender is something that has opened in a very open way more and more. Where I think all of us, we are asking about who we are, how we are. And the article, I think it's very valid in that way. And at the same time, I was thinking about the creation of the National Museum of Women in the Arts that was in the 80s. And thinking, first I thought, oh, museums, men's museums. And then I thought, my God, there are thousands and thousands of men's museums. So even though I think the proposition would be wonderful that at some point we don't need to talk about this imbalance, it's still, it irks us. We are living it in politics. We are living it in so many messages that are under so much of what we read and everywhere. So I need the feminine in all of us. I need the feminine in whatever gender you want to say you are. Because I think historically, we have been so unbalanced in that way. And I think it's why also we are suffering a lot of the damages of climate change, of people suffering where not all of us have been taken into account. So in that way, I think it's a very important conversation to have. How can we bring more balance in that? And hopefully, one day, there will not be women to watch shows. So I don't know, anyone else? Okay. First of all, Ditto. And I really found the article important in that. Oh, just hold it closer to your mouth. Yeah. Yeah, there you go. It's really important to have an article like that so that we have something to talk about. And we can gauge where we are in the moment. And it's really easy for the male gaze not to gaze on us equally. And I agree with you with everything you said about that. And it feels like fun going out with girlfriends to lunch. And it feels like fun talking about stuff. And so there's a positive energy that goes along with the female culture. And I'm just really happy that he wrote that article. And then we can talk about it and flesh all this stuff out and see what's really real right now. I mean, no, you can keep talking. I think there's another mic right there. That's just. I'm going to agree with both of you. And this is going to be one of those panels. We're all going to be nodding. I think that the article was helpful in the way in which it illustrated exactly the point that we don't have parody that we have a long way to go. I wish I think like everyone here, I think we all wish we were in a different place and that exhibitions in which that were defined by gender because that gender is historically underserved wouldn't be the case, but it is. It's clearly even worse, I'd say, in our culture now than it's been when I was younger. So sadly, we definitely need this. And I think also this is a wonderful celebration to on this point and saying this point of of what contribution we all do have and the female can bring to the table. And I love as an artist to work from that place and multiple places all at the same time, like, not just my female identity, but my mother identity, my teacher identity, my New Yorker identity, my Colorado identity, whatever it is that feels I'm in conversation with and they can all be celebrated. At the same time, I think a lot of the work that I've done has also been interested in a kind of place of beyond gender or genderless freedom to not be to be released from that strange or definition and find a space that somehow is universal. So that's also something that comes up when I think about this. Thank you. For me, you know, article or not, I'm just really honored to be showing you and, you know, just you're all artists that I've really lived up to. Sangda, I've studied you for a really long time, even when I was living in Korea. And for me, it was just such an honor to be here in the space with you. So for me, article or not, I'm just happy to be here. And I think that's really the point, right? That, you know, oftentimes with group exhibitions, you know, there's a through line, there's a connector, there's an organizing principle that allows us to draw connections across bodies of work, across different practices, etc. And I what I appreciated about Ray's review was just that it's, you know, listen, it's a provocation and and he loves to do that. And I get that. I think the bittersweet aspect of something like that is just that it shows still yet how far we are from being at a place where we can really recognize gender as a spectrum in all aspects to on this point in all aspects of kind of the environment or context that we're in. And I think we can all agree, we're probably not there.  And every year when we get together, there's still a women directors, subgroup, subcommittee, even though a majority of the museum directors are women and female identifying, we still need to meet together because there's still a lot of inequities in our field. And, and I share that only as an example of how I think opportunities like this can be really, again, productive and exciting, because it can show how incredibly diverse the practices of these five artists are. And yes, they happen to be women. And yes, some of them are exploring gender specific ideas or questions, issues. And some are not. And all of that is a part of the conversation. And I think that's where we want to get to is a place where gender is or may not be a part of the conversation with regards to each of your practices. But it's on your terms that you're setting that up, right, that it's not on others. So with that being said, I think what is so wonderful about the way that this has been organized and curated is that each artist seems to have like their own kind of area. And yet because of the cross lines and views and the way that it set up, there are a lot of conversations that are posed by the different, by where everything has been placed. So I'm curious to ask all of you seeing your work, living with it here, conversations that brought it to this point. How are you, what are some things that have kind of surfaced for you by being in conversation with one or another? Don't be polite. Just grab the mic. It's a joy to be part of this show. And it has been a joy working on it. It has felt like flowing and the whole process. And when I was thinking during the program, you're thinking you have the conversations back and forth, but you don't know all of what's going around and what will come out. Maya was the last one to install her work. I have installed and then when I came and I saw all of these blues, I just was so happy with it because I felt like we were vibrating in the color field. And knowing just being here with Senga that I also admire and have seen her work in different contexts and visiting these amazing museums and there is Senga with her world and then going abroad and seeing her show. And it's like, oh my God. And with Kim, that we have known each other for a long time and being in these two parts of the building, you have your little paradise.  Just so body centered. So I feel, you know, with Tsuchicha that we have this exuberant and the textures and I'm looking at her piece and how it relates. So I find this sisterhood of conversations going. So I'm honored as you said. I think my first impression coming in, like Ana said, I was the last artist to install. And the first thing that really struck me was the feeling of the silhouette. I could really come in and sense the body in Senga's photographs, in Senga's, you know, installations, also as sculptures. And I kind of almost felt and even the silhouettes of your ceramics and Tsuchicha as well. I really felt sort of like a bodily reaction to the works. And I felt that that felt very cohesive throughout the show. That got me really excited to think about sort of, you know, who this work is for, who this work is made for. Essentially, it's made for us. It's our personal stories. But somehow it still kind of coincides and overlaps in this more kind of organic and poetic way with the different materials that are up. So that was that was the most. So you're hitting on another note that I think is one of the most striking aspects for anyone who encounters this exhibition, which is the range of materials that are deployed by each of you. And, you know, some of them you want to just like run your hands over it, or at least that's what I want to do. I think with Tsuchicha there's this back and forth between flatness and depth and two-dimension and three-dimension. Senga's works are obviously mostly wall-based, but they allude to the body and obviously so many different materials. Maya's works, we were talking earlier about the food tape and what that signifies as well as so many other aspects of the materials that she's deployed.  I just, on a formal level, there's so much going on in here. Can you just speak a little bit to how and to what extent the material itself drives and fires, motivates the work that you've created here? It's okay. Don't hesitate. Just jump right at it. So, you know, for me the pieces with the tool, it just, the tools enforce me the shape. And I begin with an idea, kind of, I call these pieces tool paintings. And when I, when I paint, I begin and I'm not sure where I'm going to end. It's the tool because they are more concise in some ways. The moment I choose the colors, but I don't have all of them. But then the last thing I do is to do the shape. It's really the material that tells me how much piece weight or that other way. You know, when we said, I'm looking at some of the pieces that they were very at the studio much before they came here. So I'm still learning about them.  But it's, for me, it's the material. And like these pieces when installing it, I come installing it in other places, all very different spaces. The first time was outside and how it was just interacting with the storm and the wind and the rain and the night without the lighting. And here is so different. That first time, something, the piece became performant in because twice a day, I was taking a ladder and fluffing the cloud. And here it's the way it is since I installed it. So it is truly the material. And I'm in love with this. It feels like the insides I use because they are transparent and this is transparent and I complain with the colors. I'm most familiar with Anna's work because we've known each other while and I've seen amazing installations she's done in France and oh my gosh, it's like it creates a story. It creates a fantasy. And with these pieces, I really am about the body and dance and so on. And there's this constant movement that's going on with these pieces. And it really is very energizing. There's a lot of energy in these pieces. And if you choose, you can tell a story. And I love that this is tool because if you use the word tool, this is a female tool. And it kind of uses those feminine wiles in a sense. So that's when I get out of it. I'm sorry that I live in the springs. It takes me a while when I was up here installing the other pieces weren't here. So I apologize and I came in late. So I'll have to look at it afterwards. So I don't have as much history as you are. And with my own work, I just find what I can in the moment that speaks to what I want to say. And when I look at the material, we have a conversation and then we work together. And then something emerges that ideally is something that attracts who's looking at it. And they too can be a part of, you know, what I'm doing. Thank you. Can you speak specifically about some of the water based forms that that are depicted? What are these words? Depicted in your photographs. I did. Well, the water face? Is that what you meant? I mean, yeah, he's in a hot job. I don't know if that's water based because I do it water based. Yeah. Passers. That's of my husband who passed a year ago. Okay. Oh, that's better. I get it here. It's better. Thank you. Yeah. He passed about a year ago. And that was a photo taken, you know, maybe seven or eight years ago. And I just wanted to honor him. And it brought me into the realm of photography. And I'm a sculptor and installation artist, but I'm really liking photography right now. And it really upset me that with photography, you couldn't get that three dimensional feeling. And I always wanted to like somehow pull it out. And in this case, I think I would agree. I would agree with that. Yeah. I just, is this on? I just wanted to say a couple of dioramas actually when I got to see your photographs with your husband and also the whole installation sentence in terms of a tethering that happens. And his friends become a kind of tether to them, to him, into the world, into the water, and back out to us. And quite differently than how the tethers are working in the other photographs where there's tension. It's one of these dioramas. There's such a release that's in those photographs that I really appreciated. I just loved seeing this work and how incredibly privileged to be able to come in and see this work and know your work for so many years. And I feel a great privilege of being in this room with all of you and to give you a try. It's one of the things I was thinking is color is used in a very powerful mode of tool as meaning in the work in all of these artists. That it is, there's a total of the same white colors. So when you were talking about my, I totally agree, but then I was also thinking that it's contained, this color is contained within very powerful so it was. Just with regards to material, for me ceramics is the material, the main material I've been working with for decades. It's sort of everything to me. It's the ground, it's the container, it's the body, it's the plant, it's the animal, it's language. It's the earliest forms of language were written in clay and peniform. It is the history of humanness and humankind. So when I'm working with that material, it feels like growing the world and all the needs and struggles are part of the process, the struggles we all have. Certainly struggles making things as large as they seem to. But yeah, so there's just a deep connection to the material that I've always had that I felt tremendously lucky and privileged and completely in love with from the first times I engaged it. And then glaze is this other sort of extraordinary thing which allows you to add this sort of layer of color and painting and then it becomes like another whole lived environment or patina as inspired and it transforms and becomes a real thing in the world. So that's just a little bit about that. I think, I think my commercial channel is language. So I think language, speaking about I'm producing material and using sort of physical materials as a placeholder for the language is something that I like to challenge myself with. So kind of back to what Senko was saying, communicating and kind of being open to material to engage with you and a comment for you is something that I try to open my practice to. And even in Steel Blitz, I started this series in 2016 when I was living in New York. The reason why I started working with that material, I was trained as a painter and this was the first time I had made sculptures in a way. I had just sort of by chance walked into a building shop, a studio in Brooklyn and it was a big pile of discarded metal and I was instantly dropped with it because I recognized it because similar types of designs were used almost exactly, actually is used in Canada to where I grew up. So for me, that reunion is a form of recognition. I knew what it was, what it was used for. I understood it from the language and so as soon as I picked it up, I knew that I had to use it. So that became almost serious. And then I went into storage in 2018. I just got back two months ago and actually I was supposed to be the reason why it's all bound in blue tape was because I wanted to use it as a stencil to make paintings. But once everything was wrapped in blue tape in the studio, I just thought I was sick. I liked that when it's steel, there's a moment in which you recognize the shape, maybe from the past doings of walking for a city or something, but I'm still not completely obvious and it takes a moment to realize that the tape is just a blue tape. And so I kind of liked to, so we changed the whole exhibition. So it ended up being different, but that's kind of how I purchased material is I just have to be very forgetful about the process and to myself. Well, it seems like that is a fairly common thread amongst all of you, which is to say to be led by the material that I think for someone who has as linear of a brain as I do, I'm like, oh, you must know what you want, where you want to land. And then you just take the steps to get there. And of course, after all these years working with so many amazing artists, you would think I would have learned my lesson that never is that the case. It is always about how the process is very much inspired by the materials really drives you to a place that you almost can't necessarily imagine and how beautiful is that and how fortunate are we to be able to experience that on the other side. I want to kind of shift slightly to a different topic, which is that what brought us all together was this effort to shine a light on the incredible work from the creative and brilliant artists in our community in Colorado, not specifically to Denver, of course, across the state. And I'm curious to hear from all of you, some of whom have been here for many years, some who are a bit more recently arrived in Colorado, to what extent does how has, let's say, being here informed and impacted your practice on the one hand, and then also a little bit more specific to kind of the art ecosystem, how has kind of being outside of those major centers of the art world also informed your practice? I'm going to jump in. I was talking to Maya earlier, both of us came here from New York, actually, San Diego, New York too. And I think the thing that was so extraordinary was this space. There was so much space all of a sudden to work within. And I think the other thing that was immediately apparent to me was the incredible love and welcoming nature of the arts community in this region. They just opened their arms so fully when I came here. I moved here in 1999. And I was so moved by this incredible group of artists working in all media in all generations. And it's just been an incredible journey since then to live and work in a privilege to live and work here as an artist. I had the privilege of having a really lovely conversation with Clark Rickard. I interviewed him for an art buzz right at one point. And I asked him what place had to do with the work that he made or what role this place had in the work that he made as an artist. Not in the meeting, but in the actual, those sort of visceral experience of the place and how we understand it, how we work from it and out of it. And he spoke about the drama of the front range and how we're on this extraordinary stage, right? The planes, the flat planes meet this incredible outcropping map of this and we're aware of this drama every day. And then the lights being so thin and this atmosphere is also incredibly dramatic, which gives these incredible kinds of shadows. And I think I'm so wet too. So I recognize that it had unconsciously in this conversation, I reckon it had it had affected my interest in theatrical sets and trying to create that little literal theater that in the work that I was doing since I arrived here. And so you know, that was one aspect that I think about both the community and this miraculous landscape we're surrounded by as tremendous influences. Okay. Yeah, when I came to Colorado, it was exciting that people accepted you for whatever you think.  Okay, rocket scientist. But I liked it because and not in the actual meaning, but sort of, I liked it because I could be on the down low and nobody would know anything, you know. And in New York, everybody's kind of looking over your shoulder. And so this allowed me a particular freedom. So I'm in the springs, which is a smaller city than Denver. And then Maya, I mean, she goes like, she's in even the smaller place, but it really allows a freedom of doing what you want to do. And there is nothing to my mind like Pikes Peak. And if you get a chance, if you've not been down to the springs, just experience Pikes Peak every single day. And I've been here 30 years, it looks different.  And I am inspired by that. And I'm inspired by space too, although it's getting smaller with all the construction they're doing, that the energy that is around here, the space is really wonderful. And it does affect me. Yeah. I think, yeah, I think I've been at home for a few years now. I still feel like it's a fresh thing. I've never seen New York. But I think it's exactly that. You become much less self-conscious in the artist, too, which gives you the freedom to experiment and explore. And I think when you're amongst peers, it's such a tight post, you know, event or vicinity. Even if you don't want to start really considering, you know, people's attention and feedback or perceptions. And for me, I think at one point, that became quite suffocating to the artist. I started constructing an art in the way that I approached my work as well. So I think, you know, maybe kind of I played down at a piece of lyre, which is a very small town. And I maybe had one studio visit. And I think that's, you know, a lot of things happen online. But physically, I've had probably one studio visit. And I actually think that's so awesome. Because it just gives me so much more room to be myself on my own space.  Like, I can just unknowledge that I could use to my pain. And that eventually really helps the work to flourish. And to see that happen for my eyes in just a very short amount of time. So, yeah, I think as an artist, we're all geographically sensitive. So we're all sensitive and spiritual beings that are using art as a tool to communicate. So, I think, you know, the spirit of Colorado, specifically, I love because, like you said, elevation mountains, but there's a certain energy that this space in the world has. I can do a few of them. And I felt that it's just our family. And it really affected my work. Okay, I do want to say this for all the artists that are out there that if you have something to say, and if you're passionate about it, then they will find you. When I first got here, people said, come on, nobody will see you there. You know, how are you going to get shows? How are you going to do this? They will find you. Trust me, they will find you. They found you. Yes, they found us. And so I would encourage you, even if you're in a location that's smaller, just keep the work up and they will find you. So, I grew up in Buenos Aires in Argentina and we were talking before with my about the sea. And Colorado is the first place that doesn't have to see all the other places I lived. The water was the guiding point of where you were in the city. And Buenos Aires is big. It's many millions and tall buildings. And then I lived in other places, but Colorado turns out it's the place I lived the longest. And when I moved here, I moved here, I was in a very vulnerable place and moved with my three small children. And on one hand, I was meeting the clients, you know, as an artist, we have our parabolic, you know, we have a raider and we think of all of these different ideas. And I was needing to be in a place that was quiet, where I could hear my own ideas and learn more about who I was as an artist. And also I found a very kind community. Where I didn't need this way or that way, I could flourish in my own way. I mean that way it was great. But also I was amazed by the skies. The skies became the sea. And my kids were very little. And at the beginning, you know, we would lay on the day and look up at the skies and see the clouds, you know, it was like going to the movies. And the light here, it has such a high vibrancy that I feel that companies mean the world. And as the years pass and you have opportunities to live in other places, I see how for me in every place I live, when I move to the States, I just mean one person that was my husband at the time. And then nobody else. So I felt so invisible, whoever I was in Argentina, didn't exist here. So if I was in the States or not, it didn't really matter. So I really felt invisibility in a very body way. And each place I did, I looked for a community. And when the community of Colorado and the community of artists in Colorado is so extraordinary how we help each other and what institutions of art have been doing through the years and the collaboration, the different institutions have been doing more and more. So that's how it feels just a great warm way. Well, I think we have time for one more question. And then is it okay to open it up to the audience? So I think to just kind of take all of the incredible observations and offerings that you have all shared with regard to your work and really your practice at large. I'm curious, what is percolating right now for each of you as a result of presenting this work, some of its new work, some of its work that is in conversation, the existing work with some newer elements, what's percolating for you now in terms of what do you want to explore next? Where are you thinking about with regards to this specific project or something else that's totally unrelated? But how has the experience of being a part of this kind of pushed forward or brought to the surface some new questions that you're thinking through? So recently I've been to a new feeling. After being in a small town for three years, I think for the first time, I think I was feeling the last and the feeling that way. Just feeling we're not on the loop anymore, we're not on the go. So the feeling of kind of survival had sort of settled. And for me, the first thing I kind of started feeling was, wow, I'm in a small town that's just incredibly white. And it's weird, I didn't really bother me, I didn't think about it. I was just kind of in my little cocoon making our area. And really kind of the first time in the past months, I've really been feeling that. And I was almost surprised. I was almost shocked by the feelings that I was having. Coming from New York, where I'm surrounded by friends who look like me and being in a very diverse community. And I've stayed here. And as much as I love that now, I'm starting to really kind of wanting a little bit more. So I think that's going to start coming into my work a little bit more. And I'm welcoming that feeling because, you know, this is America. So I'm not going to pick up and go to another place. I'm going to stay here. And as an artist, welcome these feelings and tackle these emotions as best way I can. And most of all, I can know how that will look like. But it's just something that's on my mind. That's beautiful. I can't wait to see what you make. It's funny because I would have proposed for this show to say it was completely different than what I ended up making. And I think this may maybe happen to a number of us. But it was funny. I think you have to be where you are. You have to land where you are. I realized the work I wanted to show, I wanted it to have a kind of mystical kind of longing. And that that was the longing is really what I was experiencing. This upsets that is acknowledging the strandedness that I feel sometimes in our culture right now. But at the same time, trying to make a place that sort of also offered hope for a space that could hold us, that could hold that hope and potential for saving that we need to enact right now, very really enact this kind of act of saving. So that was really what generated this remix of work and trying to make these sort of very solo stages that were holding places or waiting places, refugees, but also sort of funny and hopefully kind of sweet in a way that like a good sweet thing makes you feel like you can exhale. But this is probably, I'm about to mount a totally different show, which is much more, I think, about Westminster and a little bit more intuitive to that end. So it takes a little bit of time, but this was what I wanted to show here. So in the way that I was talking before, I have many thoughts always and ideas and something that has happened for me with the tool and before when we were talking about materials and how to inform the other material that I find that informs me very much is the air around and the space and how that is an element to move through. So I find that when I'm working on these pieces, that is the other element that is happening for me. And with that I see how I'm thinking more and more in pieces that are more informative and also the recognition that all of this work I couldn't do by myself and how inviting more and more the community to make these pieces with me. And so on one hand I have this sense of this need of expansion. I have my amazing assistants that are there in order to be here, Southern, but it's this sense of a way bigger circle than just me. And with that I feel how maybe I'm thinking of pieces with more informative elements. Also when I was thinking about these work for here, I was feeling depleted, depleted, I'm tired and of course we all work a lot with a lot of things, but I was feeling depleted in this very deep way. We are now connected, we know of all tragedies that are happening all the time. We see these disappointments about ourselves and humanity and actions we take and ask society. And we know all these things that are happening. So when I was working towards this show, I wanted to name a word that would talk about the other part of that. I was talking about the need of a newspaper of good news, how all of the things that we are all working towards, who care as an artist, as society, all these things that we don't hear about. So I wanted to do pieces about that, about this deluge of good cards that we are working hard to balance all of these things. So these are things that I'm not even thinking about. I am thinking about exploring photography, as I said. But I do have a secret. I do have a secret. Okay. Everybody needs to wake up. And when I said I do have a secret, I hope you pay attention to your body. Because when someone says, I have a secret, all of a sudden you're energized. All of a sudden your body lives in a different way. And I'm always excited about that. My performances, my audience participation really deals with that. Getting people to see things in a different way, awakening yourself. And I made some t-shirts that said wow on it. And I wear them on occasion because when I wear them, when someone sees it, they say, wow. And they have to be participants in that moment. And so that's what I'm working towards. I love that. Can we sell those t-shirts? If it's all right, I'd like to open it up to our audience online and in person for maybe one or two questions. If anyone has a question, just throw your hand up. Yes. And I'll repeat it so that everyone can hear. I'm curious, what hobbies do you have? Your creativity flows out into other aspects of your body. So the question was, what hobbies do you have where your creativity flows out from your heart practice into other aspects of your body? I love it. So what's your love? Drifting. I thought you said drinking. I love drinking. And that's where I get a lot of inspiration actually, is going into thrift stores and looking at human things because, you know, I find different materials and sometimes I find stuff like, what the hell is this? And I have to research it. I have to think about the energy of the object. And I love interacting in that way with just talking about unidentified objects. So that's like the first thing I think you said. I have a lot of other hobbies too, but that's my favorite one. It's actually dangerous. I want to get thrifty with you. I do get thrifty, but I call it treasure hunting. I have a lot of other hobbies. One thing that's a little dangerous is how much it's just starting. So I kind of can take over your life. But yeah, and other things. But that definitely informs, I think I grew up with other things. So very serious, gardener. And I grew up in a big family and realized that if I wanted to have a next time with my mom, I'd just have to have a follower and a gardener. So I spent a lot of time on my days pleading. And I guess I got a great education and plans for my experience, which is definitely inspiring for me. I think we all have, as you said, probably have a lot of different hobbies. And I don't know if you would consider this a hobby, but I really like looking at rocks and picking up the rocks and sort of like some people do it with clouds. You know, they have fantasies about clouds. I love the shape of rocks, big rocks, small rocks. And just feeling them, seeing what they have to say. So I have piles of things I want to do that I never get to. So that I'm already thinking, oh, I can maybe, oh, if I believe for that, but those, they don't happen that much. And I'm a very intense person and probably a little obsessive. But something that I find that I like a lot, but also helps me to unplug is to make puzzles. It's a word that is hard for me to pronounce, but it's putting pieces together. And then when I begin doing those, I have to carry it at the table where I don't do something else in that area.  Well, just one more. I don't do it that often because sometimes I have to say, oh, I have deadlines. I cannot do that because, yes. I love the past one instead. That was a great question. One other maybe final question. I don't know if there's any in the chat or anything. Okay, we're good. No chat, no chat. Okay. Yes. So for young artists, would you all work or are you going to say on how you treat you? What sort of advice do you have when you're new in your career? Like what's something that you wish someone had told you when you first started? So the question was, what advice would you give to younger artists or artists who were maybe earlier on in their career? Something that maybe you received or you wish you had received or could have? Something that I've experienced and I wish other members would experience, too, is I think just notice the one or two people in your life that really support you and work. It doesn't need a whole group of people. Sometimes it really just takes one or two people, really believe in you. And I've been blessed with that. And I think that will be stressing me forward to, you know, doing what I had to do and continuing what I'm doing, even when I'm isolated in a small town. And it's the most encouraged me to know that this person, whether I'm in the room or not, they will be talking about me and they will be, you know, always supporting me, even behind my back. And I think that's, but noticing that and recognizing that is also a big part of it, I think. That's lovely. Yeah. I think I think it's, there's this myth of community, that artists work in those isolated bubbles, and we actually desperately need a community. And in fact, much of our work actually happens in community and with community. So that myth of a solo artist, I think, is true. And I definitely agree with Maya that it's incredibly important to cultivate that. I think the other thing I would recommend is just really taking taking yourself and your work as seriously as you can. Never apologize for it, cultivate your interests no matter how specific or evenly trivial, and run with them, be that, enjoy it and revel in it and see where it leads you. So good question. There are a lot of very, very talented people in the world. And I have known many and some stay the course and some fall off for some reason or another because of obligations and so on and so forth. So it's an issue of you being committed. And as I said, staying the course, high, low, everything like that. And make sure that your heart is in it and it will tell you where to go. It's a practice. It's a practice. So you're either in the practice or you're not. I heard an interview last night, these were musicians. And they said a curious thing that I had never thought of when they were talking about themselves. They said that we're lifers. So you are or you aren't.  I mean, there's a lot of stuff in the art world. It's hard. And you have to keep the passion in you of what you want to say and how you want to say it. It's really important. You know, your voice is important. So people will tell you this and that. Oh, no, I think you should do this, but I think you should do that. If it's an honest expression of how you feel, you have to stay with it. Yeah, I concur with all of that. Then I would say perseverance because you always and honesty because you are working and your heart is in it and you're out there and you're vulnerable.  And then something comes or you're not accepted here. This doesn't come out the way you want it. And I say just perseverance. It doesn't matter how many times we go down. It's how many times we go out. And I'm also the need of, oh, you know, we get these inspirations. No, work, you know, doing art is about working. And it's just going to the gym.  You just work with it. You don't think about retirement because you love what you do. And you have universes of things, more things you want to do. So in that way, I think one of the worst enemies for artists is boredom. When you feel that something you are working on, the energy is just dissipating and going on your board. You need to move. That's telling you this is not the path. It's not about being entertained. It's just following that voice that tells you, oh, the energy, it's not there anymore. You need to move to what's true. Artists and scientists and what makes us scientists keep going is curiosity and discovery. If you can hold on to that and, you know, it won't be boring. You'll be constantly inspired and things will trigger for you. Well, I can't imagine a better note to conclude this extremely inspiring and meaningful and truly special conversation with all of you. I want to thank you so much for being so honest and direct and candid, which is, I think, what people also value so much from, particularly from those who are already being so vulnerable and sharing your work. So thank you for that. And thank you to Cecily and to her team for enabling all of us to come together and be together in this really riveting conversation.  What an awesome talk. Thank you so much and thank you, Nora, for leading the talk and bringing the questions and also bringing together these five incredible artists. It's been such an honor to work with all of you in such a joy. So I've been enjoying this exhibition so much and this is such a great way to celebrate it. And we have a few more events too if you want to come and get involved. We have an art making happy hour where we are going to be inspired by the works in the exhibition on October 11 led by Katie Taft, our education manager, and she is so much fun. And then on October 20th, there will be five MSU Denver dance majors who are spending the whole semester in the gallery getting to know this work intimately. And they are choreographing dance works based on the works in the show and that will be performed on October 20th. So we would love to see you back. Thanks so much.


Promotional things pop up all the time in Japan and Pokemon is no exception. At Family Mart right now they have these iced Frappuccinos. They have grape, strawberry and pineapple flavours. Once you buy it you take it to the drinks machine to fill it up with Frappuccino goodness. And then you just mash it up to make it walk away. The pineapple one isn't the best, it's more raminé flavour. I mean if that's what you like, good for you. Though we didn't try the grape one, the strawberry and banana was definitely the way to go. But hands down the best one of course is the forbidden Frappuccino!


Child Suffer's gunshot wound, construction leads to lane closures in Sheboygan, severe blood shortage looms amid COVID-19 pandemic. These and other local stories are coming up on this edition of Community News Review. This is Community News Review, a service WSES-TV news content provided by WHBL. I'm Maddie Fister and this is Community News Review for Tuesday, March 17, 2020. A child is at Children's Hospital after suffering a gunshot wound on Sheboygan's south side on Monday. Sheboygan police were called to the home on South 17th Street and found a child had grabbed a hold of a loaded handgun in the home.  The child was taken to Children's Hospital in Milwaukee and a man and woman were home at the time and they were cooperating with police and child protective services. The Sheboygan police department is reminding people who have weapons in their homes that they should always keep them unloaded, secure and out of the reach of children. They recommend using a trigger lock or a gun safe. A new guidance is issued and with the numbers changing nearly by the hour, schools throughout Sheboygan County have accelerated their closing dates and most have closed effective at the end of the day yesterday. On its website on Monday, the Sheboygan area school district said that they are following updated guidelines in closing schools immediately. Schools will be open from 8 a.m. until 4 p.m. today for parents to collect any final student materials, personal items or medical supplies. Once schools close Tuesday at 4 o'clock, questions or concerns will be limited to online submission on the school system's online question form. The Sheboygan Falls school district's website also noted that the schools will now be closed on Tuesday the 17th and that the virtual learning begins on Wednesday, however, students still get spring break March 23rd to 28th and will not have to go online for school. Plymouth schools had already decided not to open on Monday in alignment with one of the district's parochial schools and parents in the hub city are asked to pick up students' personal and educational items on Wednesday between 7 a.m. and 6 p.m. Other school, Sheboygan County school districts also entered shutdown mode at brick and mortar institutions and are moving to remote learning options. The cancellation of nearly 2,700 Red Cross blood drives nationwide due to concerns about the coronavirus outbreak has led to a severe blood shortage. That is 86,000 fewer donations. More than 80% of blood in the Red Cross collects comes from sponsoring organizations that are now closed and so the Red Cross will be adding appointment slots at donation centers and expanding capacity at many community blood drives over the next few weeks. To address concerns about COVID-19, new measures have been in place including temperature checks of staff and donors before entering the drive, more hand sanitizer stations, spacing beds for social distancing and enhancing disinfecting of surfaces and equipment. For the record, no instance of transmission of any respiratory virus by blood donation or transfusion has ever been recorded. If you would like to sign up for an appointment or locate a blood drive, visit RedCrossBlood.org or call 1-800-RED-CROSS. Street improvements and infrastructure projects will mean road closures in Sheboygan, some affecting travel until this coming fall according to project manager Kevin Jump. First one lane closure in each direction of North Taylor Drive between Superior and Salmon Avenues will be in place for two weeks effective immediately. Conductors will be accessible during the closures. The improvements will include a new southbound turn lane to St. Nicholas Hospital. The second is a more involved operation as part of the rehabilitation of the former Coakley Building into the Badger State Loft's residential apartments. Roadways and utilities surrounding the property require improvements including storm and sanitary sewers, water mains, sidewalk and concrete pavement. Streets affected include Illinois Avenue between South 12th Street and South 10th Street, Maryland Avenue from South 11th to South, Commerce Street and South 11th from Indiana to Maryland Avenues. Initially, South 10th and Commerce Streets will remain open to traffic but closed at times to accommodate construction that work is anticipated to be done this fall. The State Department of Transportation has two major Sheboygan County Highway projects on its to-do list this year. The ongoing project to expand Highway 23 to four lanes from Town of Plymouth to Fond de Lac will continue towards its projected completion in 2022. The highway will generally remain open to one lane in each direction except for a single nighttime closure for constructing a culvert near Division Road. The other project will reconstruct the roundabout at the Highway 28 and EE intersection near Sheboygan Falls. That one beginning in July includes a new polymer deck overlay on the Highway 28 bridge over the Onion Avenue. Highway 28 traffic will be open in both directions this year but a 10-day closure of the south leg of EE will be needed for storm sewer construction. A full closure will be needed next year before completion in July of 2021. And finally, a Plymouth woman is one of six finalists named Saturday by the Wisconsin Department of Agricultural Trade and Consumer Protection for the 73rd Alice in Dairyland. Erica Helmerk was complete in the finals scheduled for May 14th to 16th at various locations throughout Woolworth County. Alice is a full-time communications professional serving for one year as Wisconsin's Agricultural Ambassador. On June 1st, the winners will begin traveling thousands of miles across the state presenting to students, completing media interviews, and attending community events to promote the state's agriculture industry on June 1st. Not a beauty contest, the selection process focuses on communications and public relations skills. Erica Helmerk represents the 7th generation to work and live on her family's registered Holstein Farm, currently serves customers at Genetic Visions ST, and coaches the Sheboygan County 4-H Dairy Judging Team. And that is our report for today. Join me again on Thursday for more local news and information on Community News Review. Have a happy and safe St. Patrick's Day.


Green tea has been shown to have numerous health benefits, ranging from reducing the risk of certain cancers and heart diseases to treating metabolic syndromes like obesity and type 2 diabetes. These benefits are thought to be due to the presence of K-chins, especially, epigallocatechin, 3, gallate, EGCG. In vitro and animal studies suggest that EGCG may act by regulating gene expression and enzyme activity, while human studies show that long-term consumption of green tea K-chins can help prevent obesity and type 2 diabetes, as well as reduce the risk of coronary disease. More research needs to be done to confirm these findings and further understand how green tea works to improve overall health. This article was authored by Kitten Ramadasan, Tambi Priyati, Choco Sabuem and others.


Right, so we have our first win of today, Veselin Topolov Veselin a very comfortable win today smooth victory in the first round Yeah My opponent he missed a very typical tactical blow So he immediately of course he could have played a bit better and longer, but I think he was losing Two ponds and then completely hold a couple of reasons. So here he just immediately resigned after night d7 Bishop d5 There's no hope in the position. No, I don't think so In a blitz game, maybe but with so much time. It's very easy to play for white also I mean absolutely no threats for black Just clear two ponds down Always good to start with a with a positive quick win. Oh, yeah, of course but still I I don't really feel very comfortable and very confident, but if I have a bit more days like this, maybe My confidence will grow if instead of night d7 is because it looked like white was already doing pretty well in that position Oh, yeah, of course white has a statistical advantage and blacks positions passive, but still of course, it was not completely lost I mean I was very optimistic because White has many plans, you know and position Positionally white is much better and it's a long lasting advantage, but still it doesn't it's not like Completely winning position. Thank you so much and good luck for the rest of the games


Hi everyone, Joe for jaspyscasebrakes.com coming at you with the Angels Yankees Braves Orioles Dodgers Nationals random number block randomizer for spectra Baseball pick your team number four Big thanks to this group here for getting into it and there are the numbers right there. Let's roll it randomize it nine times six into three one Two three four five Six seven eight and a ninth and final time We've got a few errands down to Travis nine times for the numbers one two three four five six seven eight and Once more ninth and final time again We got four down to nine All right, Aaron with four zero and two Remember zero gets you any and all redemptions for that group of teams down in that bottom tab Including one of one redemptions Nancy you'll still get live one of ones Aaron with two Matthew with five Jeremy with seven Carlos with three Nancy with one mark with eight Aaron with six and Travis with nine Let's sort by column B and coming up in a separate video will be the break itself jaspyscasebrakes.com


Welcome to your Tuesday Space Pod, and Mike, we've been talking a little bit about what you jokingly called LEGO satellites. Tell me more about what's going on with the International Space Station and these things. So yeah, at the International Space Station last week, some astronauts linked together some LEGO satellites, or rather some modular satellites from a company called NOVA Works. And with these, it was a very interesting test, and it might be a very radical new approach to satellite design and manufacturing. So instead of fitting spacecraft components into some sort of spacecraft bus that, you know, companies have been doing for decades, NOVA Works invented what they're calling hyper-integrated satellites, or high-sats. They're identical 7 kilogram modules that have everything that you would need to function, including communications, you know, being able to point your spacecraft where you need to, power, data processing, and propulsion as well. You can see those little nubs sticking out, some of them are for connections, and some of them have RCS with them, so that's really cool. And what they can do with these is they can put together any number of these high-sats that they want. They measure 20 by 10 centimeters, so a little bit bigger than a CubeSat, but they snap together just like LEGOs, and you can put them together in all sorts of different ways. And what they did, after years of developing this and ground testing, plus two years of storage on the International Space Station, this past week, on October 25th, astronauts assembled a small satellite by snapping together six of these high-sats that also had two deployable solar arrays, which were built by a company called Pumpkin, and they also had an electro-optical imager that was a NASA-sponsored mission called the Satellite Initial Proofs and Lessons, or the acronym for that is simple, just a simple test. Of course. The astronauts, after they put that together on October 25th, they actually launched it from the ISS on October 27th, using NanoRack's CABER microsatellite deployer, which provided a key test of how well these high-sats actually functioned as a single unit. Now DARPA wants to launch 14 of these high-sats next year and enable further development of their Phoenix program, which would have low-cost innovative space technologies, especially looking at having reusable technologies for satellites. And lots of really cool ideas could come from this. I mean, there's the unit itself that they deployed. And so far, on the NovaWorks Twitter, they've been reporting that it's been healthy and that things have gone really well with this. So this could be a very cool, very innovative new way to put satellites together and kind of build custom-made spacecraft for whatever you want and have a lot of redundancy as well. That's really funny. I love it. The chat room is actually saying the Borgs started this way. And I'm just wondering if that means we can get spaceship, spaceship, spaceship out of this. That's just, you know, if I may. Well, thank you, Mike. Very much so appreciated. And if you're interested in any of these sorts of things and other spacey things, feel free to subscribe to our channel where you'll get videos like this and so much more. And also join us live every Saturday at 1800 UTC.


When we are learning, oh happy song, so let's start. Clap, clap, clap your hands, clap your hands together.  Walk, walk around, walk around together. Jump, jump, jump apart, jump apart together. Clap, clap, clap together. Walk around, walk around together.  If you like this video, then like, share and subscribe. Don't forget.


Welcome to the International Organization for Migrations Migrations Services to Australia presentation on the subclass 485 Temporary Graduate Visa. My name is Kylie Maxwell and I'm a senior migration agent and a registered migration agent with the International Organization for Migration. Today we will be discussing the subclass 485 Temporary Graduate Visa. This is a visa that many students undertake after finishing their studies and completing their student visa. It is a visa that many students like to obtain to provide them with work experience, post-study and also to decide if they wish to remain in Australia long term. Before we move forward with that however I'd like to discuss some information on the International Organization for Migration or IOM. IOM was established in 1951. We have 166 member states with over 9000 employees. We are in over 150 countries with more than 480 additional field officers and we are the United Nations Migration Agency. So as you can understand IOM is well established and we do know our migration. Migration Services to Australia is an IOM program which provides migration advice and visa application assistance to people both in Australia and offshore wishing to apply for a visa. We also provide travel services for those people wishing to apply from offshore to enable them to avail of concessional affairs and concessional baggage allowances. The post-arrival connect assistance allows those who have been granted a visa to be contacted by IOM within six weeks of the grant of their visa or their arrival. And to discuss the visa conditions and the visa expiry date of their visa to ensure they understand both of these and also to allow them to talk to someone to ensure they have all the conditions and all the information that is true and correct for their visa. So moving forward the temporary graduate visa subclass 485 is a temporary visa. It allows you to live and work in Australia for a period of between 18 months and four years. This period of visa validity depends on your studies. So if you were studying a trade certificate for example you will be granted an 18 month visa of validity. If you were studying a doctorate however you would be granted a four year visa of validity. So this is where the period of validity comes in, it's based on your study. So the temporary graduate visa subclass 485 is for international students who have completed their studies in Australia for a period of two academic years, 92 weeks and 16 calendar months. You must be under 50 years of age and have completed the English language requirements. This consists of an IELTS or PTE, OET or other similar English language tests with an equivalent of an IELTS band 6. The subclass 485 temporary graduate visa is a visa that must be applied for onshore. So if you are refused your visa application onshore you are unable to fly offshore to reapply. Likewise if you are refused your visa onshore in Australia you are also unable to reapply the second time in Australia. As such you have one application, one visa equals one chance. I'll say it again, one application, one visa equals one chance. So let's look at the two streams of the temporary graduate visa subclass 485. We have the graduate work stream and the post study work stream. The difference is between the two streams that the graduate work stream requires an applicant to nominate an occupation, undertake a skills assessment for that nominated occupation based on their previous study qualifications. The post study work stream requires you to have applied and been granted your first student visa on or after the 5th of November 2011. You must have completed only a bachelor's and master's or a doctorate and there are no occupational requirements. So as you can see there is flexibility in different capacities on both sides and in both streams. The graduate work stream has more flexibility in the study you previously undertook, however the post study work stream has no occupational requirements. Both streams require you to have studied for at least two academic years in Australia be under 50 years of age, met the English level proficiency and have adequate health insurance for the duration of your visa. In addition to having adequate health insurance for the duration of your visa, you must also obtain health insurance whilst you are on your bridging visa waiting for a decision on your visa application. This can be a tricky process and I do suggest you seek professional advice before lodging your visa application. The visa validity for both streams varies. The graduate work stream visa validity is 18 months whilst the post study work stream is between two to four years. So for a bachelor, a bachelor with honours, a master's by coursework or a master's extended it's two year visa validity. For a master's by research it's three year visa validity and for a doctorate it's a four year visa validity. This period of time enables you to obtain work experience. It also allows you time to understand whether you wish to remain in Australia long term. A important requirement of this visa is the Australian study requirement. In the six months before you apply you must have completed one or more qualification at a crime cost registered Australian educational institution. This must be for a total of two academic years, 92 weeks and 16 calendar months and it must have been on a student visa. So not as a dependent on a 457, not on a partner visa, etc., it must be a student visa. Another important component of this visa is the completion date. This is the date of notification all course requirements are met. It's the date the results of final exams are published and it triggers a six month period during which you can apply for the subclass 485 temporary graduate visa. It is also the date for the graduate work stream. The skills assessing authority can begin their skills assessment. Now the completion date generally is in a letter to you as a student. However, it can be on the internet in a newspaper or on the education institutions board and board. There are some fees and costs associated with the temporary graduate visa subclass 485. The Department of Immigration visa application charge for the primary applicant is $1500. In addition to this, there are migration agent fees and ancillary fees such as medicals, police checks, as well as possibly translations. Migration agent fees do vary and it is important that you understand what you are getting for your money. Migration agent fees can include a full service or a part service or can be an hourly service. So do understand what you are retaining from your registered migration agent when you sign a service agreement with them. Fees vary and can go from anything from $1500 through to $4000 for a migration agent fee. For the temporary graduate visa, the current processing time is between two to four months.  There are some future migration pathway options for you should you be granted the subclass 485 temporary graduate visa. Some of these are permanent and some are temporary. The subclass 189 or the subclass 190 skilled independent and skilled nominated visas are an independent visa, which is a permanent visa, which may be an option for you. Alternatively, there is a subclass 457, which is a temporary visa and it's an employer sponsored visa. In addition to this, there is the subclass 186 and the subclass 187, which are employer sponsored visas. One of the subclass 187 is a regional visa. So when you are looking to obtain work experience on your subclass 485 visa, do take into consideration your future migration pathway and which way you wish to proceed. And as I said previously, do seek professional advice when looking to organise your migration plan. So IOM migration services can be contacted on www.iomosmigrationservices.org or email IOMosmigrationservices.io.int or a free call on 1300 921 811. I'll say that again, 1300 921 811. So thank you for today's presentation. And should you wish to contact IOM on those contact details, I'd be happy to discuss with you any queries you may have or possibly looking to apply for your future subclass 485 temporary graduate visa. Thank you.


But also one of those things that ticks you off the most actually flat out irritates you makes you frustrated than ever Okay, so let's just paint a picture here. You're going through a transformation your body's shifting and changing and And you're you just stall everything stops Well, the reality is is that might be a really important thing I'm gonna give you some tips not only how to break the plateau but also to realize that Appreciate the foundation that's being established. So it's no different than building a house, right? I'm in a house right now where there's a beautiful house, right? The first thing we lay down is a foundation with a strong foundation We can build to the second second floor and so when we start building the second floor, it seems like the house is stopping It's like it's slowing down.  It's not usually your performance But the same thing applies to performance So when you plateau what's happening inside your body is it's it's establishing a new normal a new baseline a new Stability and takes time for that to happen.   They slowly stop Filing that same lifestyle or they stop being as active because now school is getting busy and life's getting busy So they're not doing the same thing that you're doing before this is a great time You plateau is reassess what you do originally is it the same as what you're doing now and the answers now Then you probably need to go back to what you were doing that got your results in the first place But humans are funny people where we we basically think we're doing the same thing, but we weren't doing the same thing I've seen it all the time in my career. I'm doing the same thing Dustin. Are you are you really? Take a moment and this is time to reflect back The only time I ever recommend measuring anything is on a plateau This is a time to kind of assess are your carbon takes going up higher. Are you less active? Are you sleeping less? Are you eating later at night?  Are you moving your body less?  Make sure you didn't sneak them up a little bit. Let's not eat too close to bed Let's keep your body moving be mobile as much as you possibly can and do the reboot with us If you're not doing a metabolic reset every month with us Then you're missing the boat and to get information about the reboot just go down below you'll check it out You can come contact me and I'll help you get started on the reboot But it's a great plateau buster to help you get through that journey, but appreciate plateaus. This is business This is life if anywhere in your life you have a plateau It's the most important time to you to learn to grow and launch yourself to the another phase of your life another phase Of your health journey another phase of your transformation Plateaus are really really important to be successful and if you appreciate them faster you'll have the way more success faster So check it out. Hey, if you want to subscribe to our channel down below check it out and come subscribe with us come check out More videos. Hey, thanks for watching the video just subscribe below if you want all the updates And we upload the newest videos on keto health wellness vitality. Check it out. Come join us


Hello and welcome to the Monday market update video with me, Dave Madden. Today's date is Monday the 25th of June and the time has just gone 11.40 British summer time. Well, the big news in today's session has been so far that European equity markets are in the red and US index futures are pointing lower too. This is all down to heightened trade tensions between the US and China. President Donald Trump has stated he intends to restrict Chinese investment in US firms and in particular in US technology companies. What there is talk that this is down for this is going to be introduced for reasons of national security, but nonetheless, it does add to the heightened tensions between the two sides. Bearing in mind, at the back end of last week on Friday, President Trump tweeted that he could be looking at imposing a 20% tariff on all cars imported from the European Union. Bearing in mind, the German car manufacturing sector is almost like a barometer of European EU manufacturing. So traders are viewing the actions between Washington DC and Beijing as a warning sign for what they could be in for in relation to politicians in Brussels. Also, the news is we've seen a retrace in the price of oil. The oil market had a very good day on Friday after OPEC announced it plans to increase production by one million barrels per day. In reality, that could actually turn out to be about 600,000 or up to around 770,000 barrels per day of an in real terms, in terms of output, increase in output. Going into the meeting, there was talk that we could see in real terms a million barrel increase or over 1.5 million barrels increase. So now that in real terms, we're looking at somewhere between 600,000 or perhaps 770,000, it was disappeared to be better than expected or lower than expected. So we saw oil surge on Friday and on flip side of things, we've seen the oil market has drifted lower in today's session. Taking a look at what we have in the week ahead, which we found on the news and analysis section of our website. Scrolling down here, we can find out what are the corporate and economic stories. So on Tuesday tomorrow, we have a copyright, a failure figures out on Thursday. We have fourth quarter figures from Nike on Thursday and Friday over in the US, we have first quarter GDP and the core PCE numbers On Friday, we have first quarter growth from the UK and on Friday, we also have the Eurozone CPI figures out. So these are the highlights of the corporate and economic events of the week ahead. So taking a look now, I'll cover the markets and see how things have been playing out, starting off with the FTSE 100. So as I pointed out in recent videos, the FTSE 100 had an excellent run between mid-March and mid-May. Ever since then, the market has been coming up ever so slightly. So we have seen what could be the beginning of a wider correction because even lower low here, a lower high and a lower low. But while we were in north of this area here, 7,550, we could look at holding our ground and we could look at retesting 7,800. And if you go north of 7,800, we could be looking any back up towards 7,900. But if you do take off this area here, the 7,550 area, we could be looking at taking us back down towards 7,482. And if you go south of that, we could be looking at getting back down towards this red line here, the two-day moving average, which comes as a play at 7,446. Take a look now at the general market. And as I mentioned, the general car manufacturing sector is under pressure. Given that President Trump tweeted, the public can get slapping a levy on your EU car import into the US. And given that what's going on with China at the moment, Brussels politicians are probably thinking they're next in line for the Trump treatment. So we can see here that in recent sessions, the tax to the general market has been under a considerable bit of pressure. It's pushed down here today to a level not seen since late April. If you take a look at the market histogram, the market indicator, we can see that there's a steady increase in positive and negative momentum while the market is drifting lower. So the market is pushing lower. That's been confirmed by the steady increase in negative momentum. So the momentum is with the sellers. If we do consider the drive low from here, we could be looking at targeting the late April low, which comes to the play here in around the 12,300. And this area here of 12,300 is roughly the area. And if you go south of that, we could be looking back down towards 12,000 the figure. And then if you go south of that again, we could be looking back down towards the lows of the year at 11,692. Moves to the upside could run into resistance at this red line here. The eternity moving average comes into play at 12,788. As I mentioned, we're expecting a lower start on the Dow Jones when things kick off. So as you can see here, the Dow Jones was broadly moving higher for a number of months there. We saw a steady series of higher highs and higher lows. We have seen the market could get caught up in the trade tensions as it has been drifting lower in recent sessions. Once again, if you look at the market indicator, we can see a steady increase in negative momentum. So as the market is drifting lower, we can see that being confirmed by a steady increase in negative momentum. So if you do continue to push lower from here, we could be looking back down towards this red line here. The journey moving average comes into play at 24,343. And if you move south of there, we could be looking back down towards 24,000. And if you go south of there, we could be heading down towards this trend line support. If you draw a low between the lows of February through April and also May, you can get this trend line support here. And if you do manage to drift south of 24,000, we could be looking back down towards this trend line here, which we're going to play roughly at 23,825ish. Move to the upside, which may run into resistance at 25,000, a big psychological important number. And if you go north of that, we could be looking back up towards the June highs in the region of 25,350ish. And if you go beyond that, we could be looking back up towards 25,507. And north of that, heading up towards 25,821. Take a look now at what's going on in the oil market. Like I said, we had a major move to the upside on Friday. We are seeing some of those gains being handed back. Well, the big picture for oil has been that we're essentially from 11 or 12 months, you've seen a major uptake in the price of oil. And now we finally have this OPEC meeting where there's going to be an increase in production, but the production increase is widely believed smaller than an oil market dissipated. We could see the price of oil drift lower potentially. We could see a bit of a further pullback. Notice how in recent weeks we're beginning to see what could be the start of a trend lower.  And now we're still kind of in the in between period. If we do manage to drop below this level here at 72, Spot 38, it could take us back down towards $71 or perhaps even down as far as $69. If you do manage to push on higher and if you manage to retake this blue line here, the 50 moving average at 76, Spot 05, we could be looking any back up towards the recent highs of just more than 77. And if you go beyond 77, we could be looking any back up towards the late May high of 78, Spot 98. That was Brent taking a look now at WTI. WTI has had a larger bounce back, had a much larger bounce back on Friday and has given up only relatively speaking a smaller amount of ground. So while we hold north of this blue line here, the 50 moving average, which comes into play at 68, Spot 19, we could look at actually retesting the 70 area or perhaps even the 71 area. And if you go north of 71, we could be looking at trying the May high of 72, Spots 79. Move to the downside. The areas where I'm trying to keeping 0 for will be the late June low of 73, Spot 65, sorry apologies 73, Spot 58. This area here, if we take out that. That will be creating a new multimodal low that could take us back down towards the early April low of 61 spots 78. turning attention out of the currency markets. The year has been in a steady downward trend versus the US dollar since April It's been quite a quite an impressive how much how much ground the US dollar has made in recent months We are seeing though a bit of a trading range in this area The top end of one spot 1851 for the lower end of one spot 1510 We're kind of almost right in the middle of the trading range at the moment But while it remains south of one spot 1851 It's likely that that the that the bearish trend is going to remain intact I could take out the recent loads of one spot fish one spot 1510 The next moves of it. It keeps keep out of the downside will be one spot 14 If we do manage to breaks north of one spot 1851 and they keep on that for will be the 120 level and Finally turning our attention to the pound versus the US dollar in a similar situation here We've seen the pound is ground versus the US dollar for over two months now Once again, we've managed to create multi-month lows on Thursday last week In a seven month low, but we have much to come off those lows But once again until we actually take out the early June high of one spot 34 72 It's likely that this downward trend is going to remain in place If you break if you take out the the recent low of once by 31 or two It could it could bring 130 into play But if you do manage to take out once by 31 72 We could be looking any backup for us between moving average which comes into play at one spot of 36 or one Well, that's all for me this week. Thank you very much


Good morning folks, today is October 25th, 2018 Thursday and I didn't get an opportunity to trade yesterday. I did watch the markets but just didn't really like anything and looked like spy really moved to the downside early in the morning but either way here we are on this Thursday morning trying to find a trade looking at Forex Factory. We have a couple things and on the docket we have pending home sales at 10 o'clock eastern time, natural gas storage at 10.30 and then FOMC members are speaking today midday eastern time, all relatively low impact news and let's see where the markets go today. I do see that signal, that green arrow and apple, I don't really like it, the movie averages are not to my advantage. Alrighty I'm going to go ahead and buy some calls here, 268 calls that expire in four days. I'm just going to buy one, let's see here, I bought one call at 281 I believe, about one call at 281, the 268 calls that expire in four days, kind of even right about now. We're getting some momentum here, whoa the option price is going a little crazy, not really liking this action but well it's going. I went ahead and sold, I didn't like the action that was going on, yeah the action was very weird. I mean I did not like it, I sold at 284, yeah it's back down to 279 by 281, you can see here spy off to the far far right and you can see here the option price 278 by 282, you can see here I bought at 281, sold at 284, it was very weird because at one point the option price actually moved to 297, 298 and then quickly came back down 284, 285, 289, I mean it's going, I made three bucks on the day, minus commission fees and of course look where they are trading now, 268 calls, they're trading at $3.22, $3.20 on the bid, I bought in the 281, boy I really need to stick to my guns don't I, a little on the frustrating side but it's okay, there's another day, I lived to see another day, I didn't lose on this trade, I would have been more upset if I lost on this trade but look at that, you can see my signal popped in right here, where did I get in, activity, get in 751, 751 so right at the beginning of this candle right here, so somewhere in here that's where I bought in at 26070s and now it's trading at 268, $3.22 on the bid, $3.27 on the ask, I bought in a 281, that was all because of my signals there, this is awesome, that's okay I did not lose money, I'm happy guys, I'm a happy camper, no I'm not a happy camper, why am I lying to you guys, I just missed out on a great trade again, so frustrating guys I gotta admit to you it is frustrating, I don't know why I lied to you guys while I was actually recording my screen but it's frustrating because I let my emotions get the best of me and now I'm sitting on the floor here next to a door next to the glass, sliding glass door here because it has the best lighting so I apologize but anyways this is as real as it gets guys, I don't think there are very many traders out there that are going to show you just the emotional side of trading, they're not going to show you really what they feel inside and I'm doing it here, there are very few I can think of just not even a handful of traders on YouTube but anyways guys it sucks, it sucks because I'm letting my emotions get the best of me, I'm getting into some pretty awesome trades, you gotta give me credit on that, I gotta give myself credit on that, I'm getting some great entries and the one that I missed out on Monday where I got out and actually was a losing trade, I lost 5 cents on the actual trade, option price, had I stuck with my original trading plan, my original trading strategy, I would have made money, same deal today even though it wasn't a losing trade, I broke even, I made like $1.50, $1.60 whatever we're gonna call that even but overall in my $500 portfolio I'm up, I'm up 26 bucks, that's a tiny bit over 5% so I can't be myself up too bad, I gotta give myself credit, I can't be too hard on myself, it's interesting the sort of psychological sort of trading aspect of trading a small trading account because had I traded with $500 knowing that I have in my trading account $2,500 or even $5,000 losing $50, $60, $70 isn't a big deal in the grand scheme of things relatively speaking because I have money to replenish that, the idea is that I have or I keep sort of telling myself I gotta protect my profit, I gotta protect my portfolio and get out, keep my losses relatively small and then just take what I have on the table whenever I'm in profit because if I start losing I can't replenish that as easy guys and I promise you, I shouldn't be saying this but the weird part is whenever I'm gonna get myself into a bad trade because you know it's gonna happen, it's gonna happen fairly soon, I don't hope or wish that it'll happen soon but it's all part of trading when I get into a bad trade I'm gonna hold on to it right because I'm gonna be in that wishful thinking mode of it's gonna come back, it's gonna come back and I'm not gonna actually cut my losses the way that I sort of protect myself to the upside once I'm in a winning trade but anyways guys I just wanted to be extremely real with you guys, this is, again I can't think of any other trader actually doing this and actually showing you the emotional aspect of trading before, during and after the actual trade so don't forget the drawing guys don't forget it ends November 5th all you got to do is send me an email with the subject line round 2 tell me a little bit about yourself about your trading career your trading experience anything you want to tell me pick a number between 1 and 50 on November 7th I'm gonna pick three lucky winners those three lucky winners are gonna have an hour of my time and they're gonna get my signals absolutely free although I am going to go ahead and just put out my signals give them away absolutely free once I get to a thousand subscribers guys so hit that subscribe button share and like my videos guys the faster that I get to a thousand subscribers the faster that you guys get my signals guys like and share don't forget to subscribe thank you so much for watching everybody see you again next time


Hello, Wiki Workshop 2023. I'm Kayleigh Champion. I'm excited today to tell you about a project I've been working on with my advisor, Benjamin Mako Hill. We're at University of Washington, where we're part of the Community Data Science Collective. So this project, Taboo and Otherwise, is focused on telling the epistemic life histories of knowledge resources, aka Wikipedia articles. This project was inspired by some findings of some prior work that we conducted. It's forthcoming at CSCW 2023. And what we found is that despite our expectations, Taboo articles on Wikipedia seem to be thriving. We might expect that due to knowledge gaps, censorship, misinformation, vulnerability of contributors, that Taboo articles might end up relatively neglected. Instead, often they're thriving. And this opened for us a little bit of a puzzle, how is it that they grow and develop? How do they compare to these other articles in their growth patterns? So we conducted a series of qualitative and quantitative analyses matching some Taboo articles here on the left, clitoris and menstruation with some non-Taboo subjects, cell membrane and philip Pullman. We matched them by the date the article was born, as well as how many revisions that the article received. So we read through every revision of these articles, taking down kind of open codes and notes developing memos to observe how contributors were interacting with one another, what challenges they seem to be facing, what kinds of content or content challenges that they were handling throughout the whole history of the sort of 20 year development. We also did some quantitative analysis. So this is the quality of each revision of these articles through time. Here at the top left in red, cell membrane, we see some quality jumps as well as some quality dips. Quality dips are due to vandalism, quality jumps in the case of cell membrane. This is when a Wiki edu course decided to tackle cell membrane. The quality jump here is attributable to their effort. The clitoris article kind of crawled through the quality ranks early here as well as later. This actually achieved good article status by the end, which is quite an accomplishment in Wikipedia terms. Most of this growth in this phase was accomplished through the effort of a single editor. And finally reviewed at the end hereby by other collaborators. Early in its history also a different person, but a single editor kind of pulling this article up through the quality ranks. In administration by contrast, we found after the article was split away here in, it's in blue here, bottom left, after the article was split away from menstrual cycle, it makes somewhat steady although bumpy progress. As people sort of tried to understand how to convey information on this topic without violating sourcing rules and sort of reflecting people's lived experiences, dealing with misinformation and so on. The Philip Pullman article, the story of this person's biography is after the initial kind of growth and development phase, growth in this article then becomes very event driven. So the author publishes a new article or a new interview comes out, someone comes in and updates the article on Wikipedia about them. So very different kind of histories and life patterns for these articles, but we were able to extract a couple of themes that seemed to particularly characterize the growth of taboo articles. In particular, these articles required resilient leadership. The people who worked on these articles needed to not only persist through the typical challenges of writing an article in terms of the effort and the time and the sources and the synthesis that's required, but also face conflicts, attacks, both on Wiki and off Wiki and kind of persist in the development of the article. We also noticed identifiability challenges around people who did not have accounts trying to contribute and perhaps being blocked. Often the articles that are taboo were blocked from non-account holding editors being able to contribute at all. They also faced a great deal of vandalism, which was a challenge for their authors. We also observed in these taboo articles in particular a lot of what we call disjointed sense making. So what do I mean by this? For one thing, working on an article is sometimes somewhat disentrained where someone does something and someone else comes along, maybe they don't know what's come before them. They ask the same question, introduce the same misinformation and introduce an old conflict that then all of the people who've been here for a little bit longer have to go back in and kind of clean up and straighten out or perhaps an old conflict that was resolved rears up again with some new combatants and needs to kind of be struggled with all over again. And we saw this around both content decisions and kind of governance decisions around what belonged in the article and what didn't. We also observed kind of this emergent governance. So over the 20 year history of an article, Wikipedia's are inventing the platform at the same time they're inventing the community, they're trying to decide on policies, rules, processes, and they're making articles all at once. And so there's a lot of moving pieces all at once here as people try to understand how to resolve conflicts while they are indeed in conflict. Finally, we observed a lot of themes around audience and publicness when writing taboo articles. This is concerns about should an article be safe for work? Is Wikipedia censored or not? The decision being Wikipedia is not censored. Should Wikipedia be kind of include the very best information that people have access to at a given moment such as an image that some might find objectionable but that image be replaced in the future or should we have no images until an excellent image that's not objectionable comes along. And what's our impact on say school children or people at work if we choose different approaches toward this audience working in public at all times? In all, the process of writing a taboo article on Wikipedia seems exhausting and deeply tiring for those who are sort of contributing to that production and the heroism of these authors really comes through. One question that I have having watched this unfold kind of contribution by contribution as we walked through this 20 year history is to ask how my platforms better support cooperative work like that on taboo topics, work that is exhausting and vulnerability inducing, can we make it better, easier, less exhausting for these contributors? Thank you so much for your attention today. I'm really looking for a door discussion. Thank you.


Hello, shipmates. I want to talk to you a little bit about diversity and our diversity vision. Now, as you know, our vision for the future is our sailing directions. And there are three key tenants in sailing directions. Warfighting is first. We will operate forward, and we need to be ready. Underwriting all of this is you, the sailors, our workforce. We need a diverse workforce. And what I mean by that is we need to be diverse in ethnicity. We need to be diverse in gender. And we need to be diverse in our professional development. The folks have various asundry walks of life coming in to one workforce. Now, in order to do that, there are three key elements in our diversity vision. One, we've got to recruit properly. We've got to bring in the right people. And we've got to mine that talent around the country. This won't be easy, because only one in four of the kids in high school today are even eligible to join our Navy. Two, once we recruit the proper force, we've got to empower them, inspire them, and have them stay Navy. We need to nurture and bring that diverse force to its full bare. And three, our leadership has to understand that diversity is a key and critical element of developing and establishing the workforce of the future. We get those three elements right. We will remain the unstoppable, powerful force of the future. If we don't get this right, I'm afraid we won't be right. We won't have the Navy force that we need to get the job done. So think about this. You'll find it on our website. It's posted. And I hope you find it pretty clear what we need to do. I thank you very much for your service. And I'll see you out there in the fleet.