Hi, everyone, Joe for Jasper's casebreaks.com coming at you with 2020 Panini Mosaic football hobby pack break number 93 giving away the final nine national treasures first off the line spots big. Thanks to this group here For giving this a shot No, the teams right there. We're gonna do the pack break first then we'll re-randomize everybody's names at the end All right one and a six seven times for the names and teams one two three four five six and Seventh and final time All right, and one and a six seven times for The teams two three four After seven times we got the Falcons down to the Chargers All right, so there's that group right there First half of the list there's the second half of the list right here Now no trade windows. We're just gonna dive right into the break We want to get to the giveaway portion of this as quickly as possible All right, so there's the first off the line box. That's gonna be a different video We're here in this video. We're gonna do the pack itself So let's select that die over there. We'll go one two three for the left side four five six for the right side It's one left side So then we'll go one two three four five on the dice roll if I roll a six. I'll just roll again And it's five one two three four bottom pack Five got Terry Bradshaw silver and a Dalvin cook cook cook blue try to put blue and cook together to 99 Javon Kinlaw Jonathan Taylor Jake from State Farm and Jerome Betis All right, nothing too crazy in there this Dalvin cook is gonna go to Adam and Minnesota All right now Let's see which one of you gets into that first off the line break Let's grab everyone's names from PJ down to PJ. There's some new dice. There's the new list. There's everybody else Good luck to everyone. Let's roll it randomize it two and a three five times So top nine After five one two three Four and fifth and final time After five from ten on down Thanks for giving that a shot Here's the good news. The bad news is you're not it that sucks The good news is that we did we did find another NT So we we have another two filler breaks to go To unlock another one box break. So if you want to give that a shot Go for it Jasper's case breaks calm the next time hopefully will be the charm Top nine are happy times Matthew Michael Adam Shane PJ Chris Chris Matthew and Anthony Congrats the top nine. Thanks everyone else for giving this a shot. I'm Joe. I'll see you next time for the next break. Bye. Bye


Don't fear the Reaper, is the name given to a site based phenomenon that was most prevalent in the years between 2009 and 2016, in which the Roblox site would completely break and display a series of sometimes cryptic and disturbing messages. The exact cause isn't known, since it has only affected around unestimated 100 users, most of whom are inactive or did not record or capture the event. The phenomenon began at abrupt times, but according to some, had a higher chance of occurring during or shortly after 12.15am EST. Users who have experienced the phenomenon described that when loading a page or attempting to enter a game, they would be met with an error message that presented itself as if it were for site maintenance. A short lived blog post detailed that it read the lines. Roblox is currently down for upgrades and maintenance. It is heavily advised that to avoid game breaking bugs, that users viewing this message avoid using the site. As the message did not apply to all users attempting to use the site, the majority of those who received it simply relaunched the browser. Instead of going straight to the profile, it would go immediately to the front page, where users then noticed that they would be automatically logged out or logged into another profile not belonging to them. These profiles were usually completely random, and did not display any particular pattern with the user names or avatars other than joy dates preceding October 2007. What came as more appalling was the appearance of the front page, which was purely devoid of any games whatsoever with the exception of one at the top, titled Don't Fear the Reaper in all capitals. Users who had open speakers reported that there would be a low humming noise coming from the web page whenever they hovered their cursor towards the oddly implanted game. The game's main page stated that it was created by a user named, Paymon, and had 23 visits, with no likes or dislikes. In tandem with this, the headings of all game sections were replaced with Greek words, translated in English as, Lucifer, Baman, and Osmodeus. When players felt that they had no choice then to check out what they assumed was a sponsored game, they were met with what could only be described as a completely vile experience. A now-deleted post made on Reddit in 2013 describes the game's content.  When I launched into the game, I was met with what sounded like sirens and repeated noises of somebody screaming, though to me it didn't sound like anything someone could make with their voice unless they were being slaughtered mercilessly. My character landed in a spot that resembled a gigantic hole, which led to a corridor that was full of what I guess were carvings, which resembled two men fighting one another with swords. My entire screen was blurred and tinted red, but was sharpened to the point where it was giving my eyes a glazed feeling. Every few seconds something incredibly grotesque would appear on my screen but fade out just as soon as it came in. These looked like pictures of mutilated carcasses of both animals and people, and even both. I tried to leave the game, but I was in complete full screen and my computer must have gotten a virus from this, since it would launch right back in if I attempted to forcefully shut it down. I continued walking down with these incredibly horrendous pictures coming up on my screen, and I came upon a carving of a human character emulated on a burning cross. I was locked into first person, and I was teleported to an area where I saw a number of humanoids walking around with their necks snapped back, while I heard a mixture of wailing and chanting that eventually got to the point where my ears rung in pain. After five minutes, my game's momentum deteriorated, and it began moving and twisting into multiple directions to the point where it resembled a screaming face. I don't know how it could do this, but the last thing I heard was, Mortem, in a raspy voice before my client violently exited and left me back on the now normal front page. Don't fear the Reaper phenomenon. As with any site-related incidents, there were of course posts on the forums which detailed experiences, however all of them were either swept away by the algorithm, or others, primarily those which gave descriptions of the aforementioned game, being deleted by moderators for delicious content, and those who posted them receiving up to two-day bans. If a user attempted to access a page other than profile, they would be met with a squealing noise that was virtually resembling in nature to the one heard in the game. Conversely opposed to the descriptions given by most users, around three have also reported a second game appearing alongside Don't Fear the Reaper, which had no name, and consisted of roughly the same audio content, but with no distinguishable detail within it. Those who joined it stated that all they saw was a ring of fire that encompassed the client before the game closed. However, over two of these three users mentioned that the forums, alongside the profile page, were available to access during the phenomenon. The posts made on the forum pages were described as being entirely enladden, and constantly saying the words sanguished deus repeatedly to the point where the sentence structure of the language was obsolete. Consequently, the vast majority of the reports mentioned that the phenomenon had declined in severity following the year 2011, with posts of the incident dated to around or before that time often reporting not only in game, but psychological effects as well. Those who had entered the game in that time period stated that in the following days or weeks, they repeatedly experienced lesions, migraines and severe headaches, the latter two of which could be accredited to exposure of the lights and noises of the game. No deaths or physical injuries beyond lesions have been reported, though this notion remains unreliable as a low measure of users who gave accounts means that there is a higher number of those who did not wish to disclose personal details. Beyond all that has been stated, no other information exists as to the effects of the phenomenon on the entire Roblox site. However, the phenomenon itself has been reported as existent in games or websites beyond Roblox, as several posts made on Reddit for Chan and the something awful forums have all equally mentioned similar events taking place in other areas, though many of which are rumors circulated around those websites' mystery boards. Itobologically, the name of the phenomenon, and of the game, is most likely an allusion to the song Don't Fear the Reaper by the band Blue Oyster Cult, though it remains unknown as to why this song was chosen, as it focuses more on the theme of eternal love rather than death alone. With all of this information presumably assessed by the reader assuming they have read all of it, it is advised that this page be interpreted as a warning. If a user receives the Roblox message that often precedes these events, they are urged to leave the site at all costs, otherwise detrimental effects could occur. As of May 24, 2022, a recording has been found of the phenomenon and its effects when a user joins the game. The following video contains disturbing content, and it is advised to be avoided.


How to make candy cane friends. Hi Rudolph. Hi Dancer. We have to go to the North Pole to see Santa. It's Christmas Eve. Let's go. Me. We made candy cane friends. We're going to show you how to make them so you can play too. First, we need a lot of candy canes. You want to keep them in the wrapper so they don't get sticky. And then you decorate. We're going to use pipe cleaners to make the antlers. First, twist it around the candy cane. You wrap the pipe cleaner right about where the hook starts. Next, shape the antlers. So you're kind of twisting the pipe cleaner around your finger. It's going to make curly antlers. Me too. If it gets a little bent, it's OK because you just can position it where you want it. Yeah, you just bend it back into place. And then you make the reindeer's face. We're using googly eyes, but you can use anything from buttons to pom poms. I'm using some sticky eyes. You just peel one off and you stick it right on the curve of the candy cane. Put them on the sides of the candy cane. The eyes are done. Then you can add a nose. You're going to need some tape and some pom poms. If you use double-sided tape, it makes it easier. Spin the tape around the candy cane right where it's about to end. I'm using a red pom pom, like Rudolph the Red Nosed Reindeer. And I'm using a pink one. Once you're done making your candy cane friends, you can put on a candy cane puppet show for your whole family. You can make great Christmas decorations and gifts. And that's how you make candy cane friends. More touch here to subscribe.


This is probably one of the biggest loopholes in the Bill of Rights right now and this loophole probably exists in other countries too where you're supposed to have protection against warrantless spying. Normally if the police want to tap your phone or search through your house or search your mail they have to first suspect you of a serious crime usually some kind of felony and then get a judge to sign a warrant to let them go through your stuff or they have to get a subpoena to be able to get your records from the phone company or the internet company or whoever and this is the checks and balances of power that you may have heard about in civics class and for most of this country's history it worked at least on paper to prevent the police from doing warrantless searches of your person your house your mail your horse and buggy even if you've got one of those modern horse and buggies with a whole lot of horsepower but back when these rights were being written down we didn't have big tech and more importantly we didn't have data brokers who have made search warrants wiretapping subpoenaing the phone company and other forms of law enforcement spying all but obsolete for a lot of their cases so to get the full picture of this we got to start with social media sites aka the data collection portals so most of these sites are free as in beer they don't cost you any money but they are absolutely not libre their tech stacks are not free and open source and we can't even necessarily know exactly how much data is being collected by social media companies because almost all of their software and their stack or at the very least the end user applications are black boxes the software just does what it does and you're stuck with it now companies like facebook and google they have thousands of servers running in dozens of data centers all over the world with state of the art air conditioning to prevent these machines from melting down under the load of three billion people posting pictures of their cats and three billion other people searching for pictures and videos of cats this uses up millions of megawatt hours of electricity not kilowatt hours but millions of megawatt hours each year so it begs the question of how can they afford to keep the lights on and let people use these web applications for free well these applications are free because you are the product billions of people are using things like facebook x snapchat google documenting their day-to-day activities this is supposed to be the whole point of social media right share what you did today with the world or at the very least with your friends after all there are privacy settings on apps like facebook that let you control who can see what you post right well sure maybe other people aren't able to see certain things that you post but all of this data still remains within facebook they have access to it and they keep this data long after you've deleted a post from your wall or even after you've deleted your entire facebook account user data tends to stick around on these servers for quite some time long after you've deleted your timeline and you're no longer using the application and i'm just using facebook as an example here but the same is true for pretty much every social media app search engine every other big tech creation so the zuck knows everything that you've ever put out on facebook instagram and his other social media properties but he knows much more than that you see every single time you visit any kind of website the owner of that site is able to see your ip address your user agent and of course they can track what pages you visit within the website what buttons are clicking on the website and so on even if you're using vpns that are so popular these days to hide your real ip your user agent string is probably still unique enough to track you across the web and these are just the data points that can be collected by a static site the vast majority of websites and web apps these days are going to use javascript to make their sites dynamic and to make them look more modern the sexy single page application design that users and developers have become so fond of isn't even possible without some kind of javascript being used javascript has its legitimate uses but when it's enabled the owners of these sites can track you much closer the modern internet seems pretty spooky when most sites want to execute client side code on your computer that the site owner might use to track you or potentially even do something more malicious but the reality of the situation is so much worse you see most developers don't even really bother developing their own tracking software for their sites they just go ahead and use someone else's typically facebook or google's to get analytical data about how people are using their web apps and this data is actually really useful for developers and online business people to improve their applications like if someone is spending too much time on a particular page clicking on the wrong buttons to say add an item to their cart on an e-commerce site that might be an indication that that button is in a bad spot or just the ui design is bad and some improvements need to be made on that particular page or maybe the web app overall but the problem is even if the people that are using your application are not on facebook or they don't use google products you using their tracking pixels is still sending that data back to them so those companies are still able to fingerprint and track people across every other web page out there that is using their trackers so this is how these companies are able to really track you across the internet even if you aren't a direct consumer of their products or their services now each of these tracking companies like amazon facebook google etc they use the data that they collect from you to improve their own products and to increase their own profitability and then they'll also sell that data that they've collected from their users to data brokers who turn the spookiness of this online tracking up to 11 you see amazon collects a lot of data on you through their tracking pixels and of course if you shop on amazon then they're going to have a lot of information about your shopping habits such as how much money you're spending each month what kind of products you like to buy so on and so forth but they might not know what kind of media you consume like if you're not obviously buying dvds and blu rays on amazon if you don't use audible twitch or prime video or any other amazon media property then they might not know what you like to watch amazon wouldn't know about your youtube watch history for example because that data is owned by google well you see the data brokers are buying data from many different companies they might have bought your data from amazon and bought your data from google they're also buying data from your credit card companies your isps rental agencies pretty much anytime you write your information on a form there's a good chance that a copy of that form is going to make its way back to whichever data broker bid the most on it the data brokers then combine these different data points into a detailed portfolio about you that they sell for a premium to customers like insurers credit bureaus and of course military and law enforcement they are one of the top customers of data brokers because it lets them skip the whole process of getting warrants and just spend some taxpayer money which they have plenty of access to on an entire data set for a suspect the police get an easy route to spy on you and these public big tech companies get to say hey guys we don't actually sell your data to the police we just sell it to data brokers which everybody is doing and what they do with it from there isn't our business so they get to look good in the public eye it's a win-win situation for both the police and big tech well right now there is pending legislation to close this digital loophole called the fourth amendment is not for sale act which will require law enforcement to get court orders to compel data brokers to disclose data and this also cuts off the option for them to buy this data with taxpayer money which is one of the most messed up parts of this in my opinion our money is being used to buy our data against our will this bill could finally close one of the biggest loopholes in the bill of rights that we have in the digital age contact your local representative and tell them to support it and of course continue to practice good opsec by using apps and services that will provide you with the best online privacy and not add to the data points that these data brokers are ultimately collecting and selling like and share to hack the algorithm follow me on odyssey and have a great day


Hi everyone, Joe for jaspyscasebreaks.com. Happy Saturday. We're coming at you with 2019-2020 Panini National Treasures basketball four box pick your team number four Big big thanks to everybody Whether you got spots straight up Whether you got into number blocks whether you won spots in those cello mosaic and blaster box breaks I don't care how you got it. I appreciate you trying and getting it Congrats to the winners as well. There you go There's the first group right here There's the next group right there awesome Steven winning a spot and then winning the pelicans in that second randomizer That's pretty nice There you go. Andrew with the gris as well Thanks to those people. Thanks everybody. Thanks everyone here too It's pretty straightforward. You've seen the number blocks before on our site just for those teams. That's there's the group right there There's a second group right over here as well The uh videos for these randomizers are in separate videos if you want to look out for those All right, and here is Here's the case ladies and gentlemen. Good luck over here Put one of these right next to me over here And here's the first box right there. Good luck. We did a few yesterday pulled some monsters Hopefully more monsters for all of us today as well Slide that over there sometimes there's two relics on the bottom so Just be aware of that We use this uh this blank card right here to to hide some of the hits a little bit first one is a base card It's pretty nice. It's LeBron James 21 out of 99 just a couple office jersey number Someone look this up. I'll you'd be surprised that uh At how well some of these nt base cards could go for especially LeBron James That'll go to shang and the Lakers My Lakers i'm a big Lakers fan So there's one plate per box This one's going to be kd warriors edition from a from a noir set and that'll be for riffer Out of fives and under get the train whistle All aboard the big hit express Next we have brandon ingram relic 92 out of 99 so the pelicans on the board cven p We've got moses malone 10 out of 25 retro materials Two-color jersey for the hawks douglas with atlanta We've got jaylon rose treasured signatures nine out of 10 for ea and the bulls Jersey an autograph we got zair smith two out of 99 Sixers are a number block team So philadelphia two is up here that's going to be for robert r Get that right up there Game Gear jersey and auto gary harris denver nuggets denver steven p No, i'm sorry. He has the maves james connell jimmy connell has uh the nuggets My names are right next to each other spot that he won whoa A one of one zion williamson autograph personalized set wow that's the first one i've seen Of this personalized set right here. He didn't really personalize it, but and that's steven p Who uh won a spot Into the 900 dollar team random? Got randomized The pelicans in that team random That is awesome yeah steven All aboard the big hit express Who that is all what what is this worth? What do you think folks? Six figures oliver's thinking maverick booths and easily 250,000 That seems like a little much Not an rpa We do have to lock the door Get the store shotgun out Steven p. Just thinks he peed his pants That is awesome. We'll have to save that for picture time All right, and it looks like two relics right here rj barrett two-color dual relic and 15 out of 99 for the nix bryan l And ja marant two-color triple relic 42 out of 99 for the grizz andrew with that one Yeah, it's not an rpa. Let's not go too crazy here on the zion hundred thousand dollars. No, I don't think so um I feel like that's a lot isn't it? I mean if it is If that's what it goes for that's what it goes for but it's still an amazing hit Yeah, it's not going to go for more than an rpa but 10 15 20 30 40 50,000 50,000 maybe It's a lot of money We're splitting hairs at this point Redemption on the bottom We're splitting hairs at this point, but It's a very very nice hit Steven p's not complaining. He's just like It's a lot of moneys. Yeah, exactly. All right. All right. Good luck That was just the first box. Here's box two collins sexton To 99 so that's calves number block Cavs nine that'll be for brandon walker The one of one is trey young that goes to douglas and the hawks All aboard the big hit express And we got paul milsat 52 out of 99 denver nuggets that'll be for jimmy And we got a four out of sorry a one out of 25 Malik monk charlotte hornet's relic That'll be for the number block hornets. That's uh, anthony k drew holiday 75 out of 99 For the pelicans that will be for Steven I know sorry zack paul Trust me. There'll be a lot of cases that you won't you won't be the only one Andrew wiggins 51 out of 99 jersey That'll be for the timberwolves timberwolves number one Minnesota one is going to be for robert robert r Al ferruc aminu jersey and autograph 96 out of 99 Orlando that'll be for lance Who has the magic? treasures of the hall elvin haves 74 out of 99 the old uh, washington bullet Which of course will go to the wizards, which of course is a number block team wizards four Washington four is eastwood And we got porzingis Nice 29 out of 49 validating marx autograph and that goes to steven p Not only did he get randomized the pelicans, but he bought the uh, maves straight up Maybe I could interest him in the tiered random teams tonight And the redemption full case tier random teams jaspy's case rates dot com full case 10 spots Scared money don't make money All right, rookie patch autographs horizontal card 120 Oh Kobe white there you go ea That's the guy he's looking for rookie patch autographs horizontal kobe white. That's a great hit too This is an excellent case here Will thomas beasley asking any good polls today? Nah Nothing really It's been been been cold today It's not an rpa Next box we're halfway through this full case break more in the store folks. You ask these case breaks dot com I see I think I see another redemption down there Second the last card right there. You can see it's just a little Kind of an off-white color on the redemptions We got tristan thompson 60 out of 99 so that goes to cleveland zero julie arthurs with that The one per box plate is from brooklyn Dilo d'angelo russell That will be for the nets nets are a number block team. So brooklyn one is up here robert All aboard the big hit express We've got another malik monk jersey different color this time That is 87 out of 99 charlotte seven is going to be for scott scott p with that On the malik monk. You thought you've been randomized one. Yes you have So if that was one you'll get it 74 out of 99 marvin bagley tremendous treasures jersey That'll be for jared and the kings Next up bruno fernando 82 out of 99 two colored jersey lana hawks august warden. We got rudie gay for the spurs That is 99 out of 99 that'll be for Eric j and this and spurs nine For the nicks alan houston 79 out of 99 And that will be for Brian lammers picked up the nicks straight up. Thanks Got jersey and autograph christian latiner timbrewolves Eight out of 99 minnesota eight On that topless brandon walker minnesota eight Let's see. Should I do the redemption first? Maybe this hit first? Let's do this hit first chumo okiki Eight out of 49 rookie patch and I was an excellent patch in there, too Orlando magic lance lance m With that one. So this is the rpa. What's the what's the redemption? Let's find out Good luck clutch factor signatures card 42 K kyle guy kevin durant Kevin knocks the second A range of emotions there brian lammers with the nicks They knocks in the box And a free top loader right final box coming up folks We've got in the background here We've got dallas miami Game three it looks like finals. It's like those blockchain cards are one per case Your blockchain is jason tatum nice colossal material autographs prime jason tatum And that will be for ken golberg who picked up the celtics Straight up and a free top loader some of these blockchain cards Whether you like these or not and actually Carry some decent value on the secondary market If not great value de angelo russell 67 Out of 99 that is warriors edition going to edward omari speleman hawks douglas with atlanta All aboard the big hit express Whoo, we've got lamarcus aldrich 43 out of 99 That jersey goes to the spurs spurs number block spurs three Is going to be alexander a spurs three We've got a one of one Harrison barns for the kings three color patch Jared fontano got randomized the kings Gets the one of one relic Nice And you go jared All aboard 31 out of 49 daus mavericks jj berea steven peat with that one Robert thought you said something different on the first Malik mom. Oh if I did Robert it doesn't matter the shipping team doesn't they don't watch the video to sort out the teams They'll go strictly by the numbers and by that paperwork right there. I could say I could say jj berea goes to Nick jaspy But it won't it'll always go to Steven pea who bought the map straight up and we'll go by that paperwork right there There we go. We got jaren at jackson jr. The triple j 21 out of 99 That goes to The grizz that'll be for andrew with the grizzlies We got deandre hunter Nice nice clutch factor signatures three out of 49. So whoever got that clutch factor Redemption, this is what it'll look like the kevin docks This will be for douglas warden and the alana hawks A few more to go There's a daniel gafford nice three color patch and autograph nine out of 99 for the bulls That's another one for ea got the coby white and the daniel gafford Nice break for chicago And then two more two relics right here sometimes they drop two relics on the bottom 91 out of 99 danny manning Mavs that'll be for steven And the last relic is going to be Tracy migratie raptors team at timeless treasures Nice that is 28 Out of 99 toronto robert runkel got randomized the toronto raptors and there you go Everyone what a great break four box pick your team four in the books a lot of great rpa's and of course The one-of-one zion williamson For the pelicans pretty strong stuff. Thanks everyone. Thanks for watching. Thanks for breaking with us. I'm joe I'll see you next time for more. Bye. Bye


The Library Media Center at Bellevue College would like to share with you the differences between popular and scholarly periodicals. We realize it might be confusing when your instructor asks for an article from a scholarly periodical. We would like to help reduce that confusion by showing you what to look for when you need to access a scholarly periodical. First, we should start with some definitions of popular and scholarly periodicals. A popular periodical seeks the readership of the general public and is usually intended for entertainment. The content in popular articles is written for a general audience. Think of a scholarly periodical as a professional conversation. It is intended for a specific reading audience. The content in scholarly articles often contain original research and are written in language used in a particular field or discipline. Scholarly and popular periodicals each have defining characteristics.  When looking at popular periodicals, we recognize the following characteristics. Content is targeted to a general audience, features glossy pages and lots of advertising. Articles are often short and witty with punchy headlines. Articles are written by journalists, reporters and staff writers and sources are not always cited. When looking at scholarly periodicals, we recognize the following characteristics. The content is written for a professional or academic audience. There are very few pictures and little or no advertising. The articles tend to be longer and more specific. Articles are written by scholars or researchers in a specific discipline. Sources are usually cited with references, footnotes or endnotes. It might be helpful to look at some of these periodicals so we can understand the difference between them. Let's look at some examples. Here we have Mother Jones. Is it popular or scholarly? You can see that the cover has an enticing photo and a catchy article title. These clues tell me that this is likely a popular magazine. Opening up the magazine, we immediately see advertisements. Scholarly journals rarely have advertisements. This is another clue that this is a popular magazine. There is an editorial board for this magazine. It is made up of editors, creative directors and reporters. None of the people on the board are experts in a particular field. Here is the table of contents for this issue. Notice the article titles are catchy. Were Not Crazy and How the War on Women was Won. Here is one of the articles from that magazine. It is very interesting, but where are the references at the end? If I find something I want to follow up on in this article, how can I get more information? And here we have Psychological Reports. It is likely a scholarly journal, but let's take a closer look. It looks like the journal has an editorial board. The credentials of each board member is listed. Notice that all are from universities or organizations focused on psychological research. Here is one of the articles from this issue. Notice that the title is full of academic terms related to psychology. The authors are listed as well as their institution. Also included here is an abstract of the article, which is common in a scholarly journal. As you can see, the authors have illustrated their research using graphs and charts. This is important in a scholarly research article. The authors have included a reference list of articles and books they used in their research. So if I choose to, I can find more articles on this topic. This is definitely a scholarly periodical. These are some of the important differences between scholarly and popular periodicals. Both of these kinds of periodicals are available through our research databases. Which you can access through the library media center website. If you need help finding popular or scholarly periodicals, or would like to speak with a librarian, head over to the reference room on the main floor of the library and we would be glad to help.


Welcome. We are so glad you are here. This event is in celebration of the production of Love Person by Adi DiCaprio. He's up there on that live stream right there. In addition to all of you who are here with us in person, we also have an online audience. Hello, online audience. Nice to see you. There's a camera at the back of this room, and it's going to be broadcasting our conversation. Online, and we may also end up having questions that come in from our online audience for our two wonderful panelists, Adi Di and Bonnie, who I will introduce momentarily. What that means is, this center aisle should be kept clear if possible. If you have to leave the room, it's not a problem to walk in front of the camera. Just don't hang out there, because I guess all I would ask. In terms of the logistics of this event, obviously the goal is to make it accessible for everyone. To that end, we have a couple of interpreters on staff with us today. So, obviously, who will be signing for us for any questions that come from the audience? We'll be signed up here. And any conversation that happens between Adi Di and myself and Bonnie, Bonnie will sign for herself, obviously. But Adi Di and I will be interpreted. The other half is that we have another fabulous interpreter up here in the chair. Actually, you can stand for a moment and say hi. And she will be voicing any questions that come from the audience. And she will also voice for Bonnie. Is that correct? Great. So, I guess what I would ask for our online audience who can only see the people up here at the front, just know that there may be a lag for a moment or two while the interpreting is happening. And that's just part of what it means to have a completely accessible event. And we're excited to be here with all of you in the room and online. So, I'm going to start with very brief introductions of both Adi Di and of Bonnie. And I'll probably ask them to throw in a couple other words if they think I've missed anything really important, which is probable. So, I'm going to start with Adi Di. Adi Di is a playwright who is based in Minneapolis. She is multinational in descent and in writing interests. The majority of her work tends to take as, if not the major theme, then at least a partial theme. Questions of communication, of understanding, of language in particular. As a bilingual or, correct me, trilingual? How many linguals are you? Try, I'll think, okay, I'll think three. As a trilingual artist, most of her work tends to play with language quite a bit. This play obviously doesn't. And so, Adi Di has also been represented on stages around the country, and she's been the recipient of several major awards, including a New Play Development Award granted by the NEA and the New Play Institute when it was housed at Arena Stage in Washington, D.C. So that's Adi Di in a nutshell. Completely, sort of, not adequate to describe the complexity of her work, but it's a start. To my right is Bonnie Kaplan, who is the Director of Cultural Affairs for BSA Massachusetts, which is the state organization for disability and the arts. And because Bonnie has about a million major accomplishments, I'm going to cheat for a second and read. So in addition to her other work at the BSA, she also is in charge of the Open Door Gallery, Boston Art Reach, Inclusive by Design, and in the past, the National Cultural Access Institute. She provides technical assistance to program participants on universal program design and development of inclusive audiences, especially serving people who are deaf or hard of hearing. One of the things that makes Bonnie a perfect co-participant in this event today with Adi Di about the world of display and about what it means to intersect with display is that not only does Bonnie have all of these amazing other qualifications, but she's no stranger to theater. Having co-produced several things including the show of hands deaf theater festival. So today we're here and we're going to have a conversation for a little while between Bonnie and Adi Di and myself. And then we're going to take questions from the audience. So if you think of something, hold on to it. We will come back to you in about 20 minutes. In the meantime, I should probably tell you who I am. My name is Ilana Brownstein, and I am the director of new work here at Hukena. I also serve as the dramaturg on this show, which means that one of my jobs was to discover and present pathways into the world of the play for all of the various constituencies. Whether that's the actors, the designers, the company, the community, or you in this room right now. So this kind of event that we're doing here is part of our larger goal in terms of finding new ways to communicate with a wider group of people who live and work and make Boston their home and potentially are willing to have a conversation with us. So we're really glad all of you are here. And to our online audiences, we're really glad you're here today. And we look forward to whatever questions you might have. You can use the Twitter hashtag number sign new play in order to communicate with us during this event. This event will be about 45, 50 minutes, give or take. And afterwards, there'll be time to chat with any of us. We'll remain around and you can ask us any further questions you might have. So with that, let's get started. Hi Aditi. Hi. I will add, I guess, that we will just have to make some allowances for the weirdness of technology and wifi. Aditi's audio is coming through perfectly. It's a little bit choppy in the video. I'm sure it's the same for her in terms of our video. So we will roll with the punches, I'm sure. So Aditi, I wanted to start by getting you to just talk very briefly about the impetus for writing this play. It is unusual for a hearing playwright to decide to take on deaf culture so intimately as you did. And I think you'd be great if you could share with our audiences what the inspiration for that was. The very first seeds of this play happened when I worked a lot with deaf performers. I've voiced quite a bit with deaf performers. And I have one very good friend, her name is Nick Zacko, who is one of my favorite performers, deaf or hearing or, you know, in general, one of my favorite performers. And I was voicing for her in a show at McSlob Theatre. And at the same time I was researching Sanskrit for a fiction project I was working on. And I was struck by a kind of poetic similarity between the two languages. And I had this idea of what if I wrote something where a deaf woman and a Sanskrit scholar fell in love faced entirely on the affinity between their languages. And the first thing I did was try to write it as a short story and it didn't work at all, it was terrible. And then a few years later, I thought I was a play because ASL is amazing on stage. And I will say this, I didn't set out to write a play about deaf culture so much as to write a play that had both deaf and hearing characters in it, kind of in a naturalistic way, which is I think the difference while I made Nick and her partner Lisa talk to me so much during the time we created this play, that was more so that I could get deeper into their characters than anything else. But it's a play that has both deaf and hearing characters, which is why I think it falls into this interesting and between category, between deaf and hearing theater. And this play has been produced at small and large stages. But one of the things you and I have talked about is the challenges and opportunities that producing this play allows for a company that has not necessarily previously worked intimately with deaf artists or with the deaf community. So being a playwright and having watched this across a couple of different theaters over time, can you talk a little bit about your perception of what some of the challenges are and where some of the common successes are around this? Oh, I think right when theaters embark on the play, consistently they usually don't know quite what they're getting into. If you haven't worked with deaf artists or in collaboration with deaf theaters before, there's no way you can anticipate all the different kind of treasures and challenges that are ahead of you.  That's it, that's it. What must you work your way through those challenges to make it a really beautiful play and not just this thing where you're worrying about how are you going to queue this actor and how are you going to make sure that this actor who doesn't know ASL understands when they're queuing, you know, like all of that bilingual stuff. Once you get through that, once you figure out what it is to work with an amazing signmaster who encompasses what you're creating, what it is to work with interpreters in the room all the time and all your words are going through the interpreters, be you deaf or hearing, everything is going through these interpreters and you're so dependent on them. Once you get through all of that, I feel like the experience of succeeding with this play is a big part of the awesome thing about doing it because it's going through something huge together. You know, it is challenging and it's fabulous when it actually works. I think that's one point. And then for the audiences, the next step of that is to interface with the audiences and seeing audiences experience something completely unfamiliar in the space is to me, since I usually just see production, I don't always get in there. I bury myself in it in the process that just you're invited by people with panics or anything else. But the audience experiences, to me, is one of the more amazing things because both for hearing and deaf audiences, it's so rich. It's great for a hearing audience to be into experience this multilingual thing where they are occasionally left out in a really poetic, significant way. And it's so great for deaf audiences, I think, to be in a space that is just inclusive. It's just part of the story. The deaf character and the language is just part of the story. They're not looking off to the side for their interpreter. They're experiencing it as an adhesive artistic entity, which is a big part of what I wanted from this play. Access is a wonderful thing. This play is about bilingualness and not about access, if that makes sense. That does make sense. And I think that's a really interesting way for us to continue this conversation because, indeed, I think the important thing that art can do is not necessarily that we provide access to everybody but that the storytelling itself becomes the point of it. Storytelling is inclusive. Hi! This is one of my daughters. She has a beautiful lead. Talking back here is about the way that the bilingual quality of the script and of the process makes it possible for multiple kinds of people. I use the term kinds in all different ways, whether it's language or something else, or identity that all people can have access to a really centralized story. That seems very different from ways that are simply interpreted to be accessible. Maybe I want to turn this over to Bonnie for a second. I'm just going to turn this here so that you can see each other. Bonnie, do you want to talk for a moment? Maybe you can start with... You just saw this play on Friday. You have anything you want to start with from the experience of watching it. That's great. Also, maybe take a moment to talk about this concept of access versus bilingualism. Do you have anything you want to add about that? As we do this, we've got a voicer who's going to turn on her mic. There we are. Before I got to the venue, I really had no idea what to expect from this play. The only thing that I knew was, first of all, that it would be fully inclusive. And secondly, that both hearing and deaf characters were written in. So I was really looking forward to that. At the same time, I had no idea how the story would progress. And really, my mind was blown. I was trying to think, what am I saying to myself? I wish that more theater was like this. That then the theater community would be in a better place. And I really have you to thank for that. And I'm hoping that other theater companies will see this production and realize, you know, Oh, it's not so bad. It's not so complicated. If they can do it, we can do it too. And really honestly, the deaf community is hungry for this kind of thing in mainstream theater. We're tired of having a separate place for ourselves. And also, I want to add, one thing that's cool about this is that I could come to this show anytime. I did not have, it was not pre-picked for me which day I came. Because usually, typically, there is a limited number of dates that there will be an interpreted event. You can only come on Wednesday. Or you can only come on Sunday afternoon. Or Saturday morning. You know, two o'clock in the afternoon. And I'm sorry, we want to have equal access to the theater. So this play was really a perfect example because it was fully accessible. And I was also watching the hearing audiences reaction. There were moments where the stage was completely silent. And people were looking at each other because they didn't know how to respond to that kind of situation. They didn't know what they had missed. And you know, for me, I thought that I had missed something too. And realized that it was on purpose. This is part of the playwriting. You want us to have similar experiences in the audience. So I did it the way that you wrote this, the way that it was expressed, could not be done any better. I'm still amazed at how you were able to share your personal experiences. Your experiences in deaf theater and with deaf community. And working for the hearing community as well. And being able to put that on paper. And really the storytelling allowed us to be a part of this. And I'm hoping to see more things like this in the future. So thank you so much, David. Didi, I wonder if you can spend a moment. Oh, we've got some major props going on. I'm wondering if you can take a moment and talk about, from your point of view, as the playwright, as the person in whose brain this play originally formed itself and had to sort of work itself out on paper and through the development process, I feel like in your conversations with me, you've been talking about how it's important for there to be an audience that has both hearing members and deaf members side by side. Bonnie was just talking about what that meant for her to have that. As a playwright, what does that mean for you? It's, you know, I feel like the degree to which I get political in my work, which I'm not an activist playwright per se, but I do feel like I'd like to see more on our stages that reflects more the society that we are. And it's not because I'm trying to make a point. It's more because it's more interesting that way, you know? And the stories are richer and more complex. And I think for me, the experience of, so theatre for me, it happens somewhere between the performance and the audience. It's not just the production. It's somewhere in the air between the performance and the audience. And the piece of live theatre is so great and actually is different from TV and film, which I very much enjoy TV and film. But live theatre is different because there's something about that energy that you send out when you're sitting in a household of people, you know, but there's humans up there on the stage, and there's like an unspoken communion and connection that's happening between everyone. And I feel, boom, I think, that is, oh my God, you! Oh, look at that, I can see her behind me. I feel like that experience of a multiplicity of experience and the multiplicity of experiences on the stage, having people sitting next to you, such a troublemaker, having people sitting next to you who are experiencing the lap at a different time in the life, who are taking in through a lens that's different from yours, and you can feel their body, you can feel how they're emotionally connecting, and it's making you connect on that level too, that kind of mind, that the mind that happens to the audience is a really beautiful thing for me. I'm not kidding, you're going to end up with no ice cream for dessert. So there's a good effect that I love when you put the play star effects there, there's a lot of noise, there's that whole scene, but then the scene between the two women that's completely sad happens. The deaf audience is cool with it. They're laughing, they're with them like from the first moment of that scene. The hearing audience, usually there's this rough, a little bit of discomfort that happens. Can you repeat that? Where they're like, who is this? Alright. From the audience? Yeah, we have the hearing audience. Well, it's a technical issue. Can you back up to say, the place we lost you was, you were about to say something about, you talked about how the deaf audience receives that moment, but the hearing audience has a different experience of the silent scene. So if you can just pick up what you were saying there. So the deaf audience is obviously very comfortable with the silent ASL scene. If anything, it's pure because no one's going to leave their lips around and try to make all that noise, right? You are seriously, you're going to be in so much trouble. You can't ask. No, they won't talk to me right now. The hearing audience, almost every single production has seen. At the beginning of that scene, there's this rustle of discomfort amongst them because it's so quiet and it's so uncomfortable that it's so quiet. And then it passes. And it passes as they get into the story because there's amazing stories about acting generally going on up there on the stage. And it also passes because they notice and they feel that the deaf audience is so comfortable and that makes them comfortable. And it's okay to just relax and be in a silent space for a while. And that's really, I don't know, I love that. I love the shift in our mind and in our bodies and in our breathing that happens with that. Yeah, a mix of audience and a mix of the characters on stage is just a really special thing for me. She's not an asset to create change, especially if the storytelling is heartfelt or pure or complex enough. As somebody who works day to day with the arts as a means of access, where do you point on that and where that sits with your own personal opinions or with the work you do? I save performers in my work daily and work with hearing interpreters on site. And every time I go to a show, I always tell myself, I wish, I just wish that everything could become deaf world, so to speak. Because I feel that the deaf community has not really given a lot of opportunities to really show or really to see what's going on all over the country. There are fabulous deaf actors just waiting to be discovered. They just need an opportunity. But unfortunately, society and hearing society, we want Marla Mann because she won the award. And it's like, wait a minute, we have other talented actors out there who haven't been given an opportunity to show what they can do and from whom the organization can become even better. So that's one of my frustrations. I don't see that opportunity happening in my job often enough. And that's one of the reasons that the Deaf Theatre Festival back in 2005 was a passion of mine. I wish that I could believe that. People are so hungry for ASL in storytelling and on the stage. So from that event, it was a three-day festival. I received so much feedback, so much positive feedback, people asking when we could have this kind of thing again. I wish that it was easy to do again. We had a lot of support from the hearing community to help make it happen. And maybe someday it will, maybe someday it will happen again. But what hearing theatre companies don't realize is that millions of audience members that they're losing out there. It's only when they can fully open the doors to the Deaf community when it's a two-way street, when Deaf artists can show their work and you've made that possible. So I'm hoping that this production and this play will become a model. And I want to thank Company One for being brazen and bold enough to challenge themselves. And it was a great success. I actually have a question for you. Elana, are you up for a question? Yeah. When you first read this story, what was your first impression? I actually, so I will say that I was lucky enough to lay my hands on a copy of the script when it was still, I think maybe just after its first production or clip, maybe it was still in development. The original dramaturge on the play was a friend of mine. She had been telling me about it and I said, I have to read that play. And so she put me in touch with Aditi. And Aditi and I, for a long time, were nice friends but we never met in person because she sent me the script and I read it and my jaw fell on the floor. I thought, not only does this play have an interesting story about people, so they're interesting people, interesting things happen to them. And that's, for me, my definition of good theater is that a good story well told. So we had that, but on top of that, you had to be intense theatricality of bodies moving through space and time in a way that was unusual for me to see on the stage. It used the elements, as Aditi talked about, the elements of silence for the hearing audience. It used the elements of ASL but in lots of different ways. One of the things that I, and not just me, certainly the entire production team and audiences and company have discovered through the performance of this that I don't think is actually possible to know when you're reading it on the stage but actually comes alive when the actor takes this on is Jackie. Jackie are you in the room? Hi Jackie. Jackie are our actor who serves as the sort of central interpreter in the play between death and hearing worlds, like Maggie. One of the things that Jackie talked about, and forgive me if I speak on your behalf, I can throw in anything if you'd like if I get it wrong, one of the things Jackie talked about was the problem of synchonic, simultaneous communication, trying to speak and sign two different languages essentially at the same time. And the complexities of that are not just difficult sort of intellectually but they're difficult politically. And that was something that I, that has become one of the most interesting things about this play that I didn't even know about until we were in the middle of it. So I think that this is one of those scripts that as you, when you read it, it is one experience which I thought was stunning and beautiful. And as you work on it and discover more and more about what it means to actually put it into practice, that to me has been stunning as we've gone through it. And I mean, I'm trying not to be hyperbolic here or trying not to exaggerate but the complexities for me as a theatre artist working on this script have been equal to any of the best classical literature like Shakespeare or Laure-Moyer any of those things that yield themselves layer after layer after layer as you work on it. I think none of us actually, as Adibi says, none of us knew what we were getting into when we started the project. And that's probably okay, like in fact I know that's okay. And you just kind of have to be willing to do it. So for us, I think that's been an amazing process. And for Bevin, the director who sadly just had to leave but I hope she won't mind me speaking on her behalf, Bevin didn't know sign language before deciding to work on this play and embarked on a course of ASL so that she could effectively communicate in the rehearsal hall and has become pretty good at it, right? She pretty much doesn't need the interpreters when talking to the actors or we also have a deaf lighting designer who worked on this play. So that's been really, it's been great I think for the hearing artists involved in the production it's been really great to sort of have access to a new mode of expression of communication that I think for a lot of hearing people it can be scary because we're afraid of maybe giving offense and doing a play like this makes it easier to not be afraid of them. And we see in the background the perils of being a working mother since we all know. I don't know if I'm going to end up with the interpreters, right? Yeah? That's fantastic, great job, you guys. It was like, ah! Seriously, I can't take it anymore. So one more question on that if I may. After doing this, what kind of advice would you give to another theatre company taking us on? What message, if any, would you give to them? My central piece of advice is to know that there is no way to know what you're getting into before you start it. And that in fact that's the deal with making art in general. That if you try to plan it all out in advance you will clearly fail because whatever that plan was will stop being useful about three days in. Instead of speaking for the company, I'll speak for myself for a moment. I have had one of the most profound artistic experiences of my life working on this play because it has given me lots of opportunity to think and talk about things that are not part of my daily life and to me that's what theatre is for. So if I were to talk to another company to say, you know, why do we play like this? I actually think one of the greatest benefits is that it helps us as a theatre company really be in conversation with a part of our community that beforehand we weren't in conversation with. And if we're invested in making art and if anybody is invested in making art the point should be to create those paths that you mentioned. So my advice to other companies would be to take it on and to know that you don't know what you're doing and the best thing you can do is be transparent about that. You can be transparent and just say, I don't know. That gets you a long way as we have discovered with all of our amazing, amazing help on this production from the deaf community. We could not have done it without their help and without your help, frankly. So that becomes a real value to us as a company who has as its mission and interest in the community. Other companies may not have that interest and that's okay, that's their business. But for us and for other companies like us I think that it makes a big impact. I'm wondering now if maybe this would be a great time to open this up to questions from the audience. So a little word about logistics. Here's how this is going to go. We'll work this out as we go as I'm just mentioning about being transparent. Here's me being transparent. If you have a question, if you can be so kind as to raise your hand and I'll figure out what order we'll call on people.  So we'll take these questions from the audience. The questions can be from Bonnie or Adi. Yeah, I guess, but they're more interesting so ask them. And every once in a while I'm sure we'll get a couple of questions in from the Twitter audience and I'll sort of get a signal from the back of the room that lets us know that that's happening. We'll take that question. So if you are going to be asking a question, you're going to be signing. It will be voiced for you as you sign. And if you are speaking, it will be interpreted up here. So that's sort of how we'll try to make this work. So who wants to be brave? If you have a question, they want to start with Sabrina. Our free has a question. Since being involved in your story with a hearing partner in the play, once in a while I have wondered if you have seen stories about deaf and hearing couples who went to the play and have felt an effect from it at home. I'm wondering if you've had any gossip or any fan mail about that. If it has caused any domestic disputes or anything in the opposite direction of people really figuring out how they're going to make this work. So I was just curious about that. No, no, no. I, you know, I have a lot of issues with that. My good friend, Nick, is a deaf artist who is in, yeah, completely in control of my work.  And so when I started writing this play, I don't think I knew that I was going to try to make it believe but I didn't know. I just knew that that was a huge part of their relationship. The fact that whenever they were in the world, Lisa was mixed access to it. It was a hearing gathering. And if it was a deaf gathering, Lisa is extremely proficient. So then they were both very comfortable. And it's a relationship and it shifts the nature from a relationship. They're also in the world. It's funny when they first read the play. They said, how do you know how we fight? And I said, I don't. That was me and my husband.  It's a play. I have nothing about how you fight. I just, you know, people are closer to people fight. And so I write from what I get and what I know. And sorry, I thought you guys never fight. But you know, the inspiration certainly came from the fact that these two women have this tense bond language-wise with what is in this hearing. So there's additional facets to their relationship when they engage in the world. And I think that there's a fact that Lisa, whenever they're, when we go to a bar together, Lisa's hands are always going like this. It's a part of their world, a part of their reality. So a lot of them are inspired by them. But then a lot of the relationships, you know, I've been married for a lot of years. I think every frustration and fight that I've had might have worked its way into some relationship in that play. So that's why I think it's more from a universal play. The part about the deaf and hearing partnership, I took a lot from observations of them. So that's where I'm going to answer the question. Yes. Yes, that's great. Thank you. And then do we have other questions from the audience? I'm going to participate in the show for the first time. Wow. What an impact. But then as it went on, I totally got involved in the play. I identified with the characters and the relationship and the acting. And actually my partner is hearing. So I was like, hey, look at that. So, right? I wanted more. I want more of that story. So thank you so much, Anita. Good job. And I want more. Please, please, please. I just want to thank you, Bonnie. And all of the company who wanted to go ahead with this. What a great production. I really, I love that show. And congratulations, Sabrina. Oh, yes. Thank you. Thank you, Steve. And I don't really have a comment so much as a question, but I'll try to keep it short. First of all, I just wanted to give everyone a hand. Everyone who was involved in this. I know there's a lot of logistics, a lot of deaf culture, a lot of hearing culture, a lot of issues to deal with in the course of this production. So I applaud you. You worked it out really, really well. Now I want to go back to my question. So I did read the script before I came. I was thrilled that, you know, that a hearing playwright came up with this story. Just a very brave thing to do. It really felt real. Really felt truthful. And I'm amazed. I think that this was a successful, a successful endeavor. So props to you and also to Company One. Because you have really opened some doors and broken down some barriers. And I think everyone in this room would agree. So thank you. You are truly pioneers. Braving down barriers for other companies. So thank you, Company One. I'd like to add Steve's comment, if I may. He mentioned that you are brave as a hearing playwright to write this story as a hearing person. The deaf community can be very sensitive and also very political. Very quickly made political. But you made it clear that you are involving the deaf community during the writing process. And also asking for their feedback, their input. And I think that that was invaluable. That that was what led to acceptance for you. I think that if you had gone on on your own and written this play without any of that input, without any of that involvement, it may have been a very different reaction. Yes, I have a question. I have a comment to add. It was obvious that deaf people were involved in this production. I can tell from the first minute. Helping with the language and making sure that the signing was clear. I really want to applaud the cast. They did a fantastic job. I was inspired. I am also in hearing a deaf relationship. And it made me laugh. In the beginning of that relationship, there were a lot of cultural conflicts. And you were showing some of that. Like the sign for poetry. I mean really. It's like the sign for music. And hearing people love music.  So I enjoyed it. Congratulations to all of the cast. Great job to all of you. And of course the author as well. Thank you. And I just, I just, we are in my chair. I'm going to say that at the end of my, I have a question for somebody in the audience. I hope, Alberto, you don't mind. I single you out. Do it. So Alberto was one of our, he's our sign master essentially. And one of our ASL consultants. And I wanted to ask you, Alberto, if you would, if you had anything you wanted to add about what it is, there was a comment about the precision of the sign. The language that the actors were able to use. Can you talk about just, because I think the position of sign master is probably mysterious to people who have not had that experience before. Can you say anything about what that was for you as somebody working on the show? I have to say I'm thrilled to have been part of this team. And one thing that I have to say is that what a wonderful experience to work with this company was being great to work with the cast, with the company. So I had three different roles. I was an ASL consultant to the hearing cast. Also to the deaf cast. Both for the folks who were proficient already and for the folks who weren't. So my job was to help hearing folks on stage, gesture and come up with their own family or intimate level of sign language. And also, one person may be able to sign something fluently, but one may sign the same thing more sloppily. So we had to keep them at that level of fluency. When I read the script, I had to at that point figure out the background of the characters. Okay, so they're from the Midwest. They're from Minneapolis. So that has a certain accent to it in ASL. And how does that affect the characters and their signing and what their language looks like? We have some actors who are really beautiful signers and we have to make them look a little bit less proficient. And that was a huge responsibility. So that's the concept. That's what I was doing here during rehearsal. Thank you, Alberto. Sorry to put you on the spot. Adedia, can you talk for a moment about, for you as a playwright, I know that you also have in the creation process, you had to think a lot about when your words were going to stay your words and when they would be given over to a sign master and to other actors who have their own styles of sign. Playwrights have to do this all the time with actors and their words. But for you, I think it was a little bit different. Do you want to say anything about that? Yeah, I knew that in the end, all of the ASL that I was writing would end up being translated. And differently for every production by whichever sign master and the team and the director and the actors. And one of the really beautiful things to me about the process of deaf actors is that as their characters evolve, as their understanding of their characters evolves, what they're saying also changes. And that's very different from where you have to say those words. I don't care if you're feeling differently today or if you wanted this character to go sound, you have to say these words. That's not the case with deaf theater because, oh, you know what, if we're going to go that way, then maybe this sign choice is better and so it evolves. So I don't have the kind of control over the things that get translated into ASL as I do over the things that will be spoken by an actor in English. That said, I also have to find what the balance I needed to find was, I needed to find the balance between letting the language be direct enough that it wouldn't be difficult to translate. And at the same time making sure that what ended up on the screen as access for the hearing audience was interesting and had tension and energy and poetry to it so that it wouldn't be uninteresting for the hearing. It just doesn't understand the sign. So it was a weird balancing act and I think over the first three productions it evolved. Like we discovered, oh, invariably we discovered that something could not be translated into ASL. It was untranslatable the way I've written it because I've pulled some metaphor into it that just was not possible. So either a simplified or a safe, can you help me come up with a metaphor that does work? And then this amazing group of like sign masters and actors would play with it. They'd play with the idea. They'd say, why do you care about this? Why do you need a symbol? They'd think of something. I'd go, oh, I love that people. And then somewhere between us, we'd come up with the English when the ASL would work. And even so, I know that as it goes into every single future production, as it goes into every single production, it is getting reinvented. And I hope the language I created has enough pliability and enough guilt to it that that is something that can happen in every future production. And at the same time, I hope that the language I created has enough structure that the characters will remain centered and sound the way that I want them to. Like it's very important to me that certain characters be very tough and be very strong and defensive. And I don't want that to morph into a gentleness and a fleeting. So I try really hard in the language to lock that down and at the same time, allow us faith for them to be tough in whatever way this actor does tough with their language. It's a weird balance. It's a very big part. I still haven't figured it out or anything, but I hope the script has space for that kind of creativity with each change. It's an interesting challenge as a writer to have to think on all of those levels at once. We have other questions from the audience. Oh wait, yes, we have a Twitter question. What does Twitter have to say? Hello. Twitter is wondering, where are the Sanskrit audiences? Well, I guess we don't have any Sanskrit audiences in this room right now. Thank you, Twitter. We're going to go. Hats, did you have a question? So many deaf folks seem to have questions and none of them are hearing audios. We have a question over here. Did it take you to write this script? No, to think it up and to write it out. How long did it take? Oh, I remember then, one-year residents, well, the first seat of my idea came about a year and a half before I wrote a single word down. So there was stuff in my head during that time. And then when I started writing it, the first draft, which I have to say was not a good draft, probably took me, I probably wrote it over the course of three months and it wasn't good and I probably would have not gone back to it because it didn't achieve what I wanted to achieve. It sort of fell short of what I imagined except that I got into a playwright's week at the Lark, played a development center in New York. And I thought, oh no, now I have to do something to make this play better because otherwise I'm going to be in playwright's week in New York with a terrible play. And that's when Liz, my dramaturg, got involved. So from there on out, I've been saying it was about a year and a half, maybe a year and a half, about two years first until this premiere production and I'm still changing things through the first production because there were things about the technology and the email aspects that we couldn't know until we did it for real. So I was still writing through that one. I think I did some tweaks before it got published. So I don't know, the first draft three months, but it was bad, it was very, very bad. And then another two and a half, three years of fiddling, probably a year of strong fiddling and then, you know, more. I'll stop now, I'll leave you alone. That work, that length of work, especially on the technological aspects, it shows, because for us as a company, when we went through the process of trying to deal with the technology, which in fact we had to put into the rehearsal room in order for us to be able to do any of it right. We had to have our projection designer making projections very early on. In order for all that to work, we discovered pretty quickly that we can trust the script, right. That you had actually done the majority of the work. Like when things had to be timed, how long a scene was, how long the interaction was, that stuff, which I think before we started working on it, we thought was malleable or that we were going to have to figure that out. There was actually a lot of relief for us as the artists bringing this into the world on this stage, that all of that actually was all in the script. I think I have a lot to deal with the depth of work you did on it before the script got to us. So thank you for that, because that was huge. It really made it so much easier for us. We are hearing the end of the allotted time.


So, Dr. Farid, I turn to you with a perspective from the Emirates and the region. Thank you. It's really a very interesting and very important discussion that we have regarding the global governance and being more prepared to pandemics. I think that there is a lot to be done. There are six main priority areas that we need to focus on, starting from the leadership commitment and I see that the global conversation to revise the governance structure is really going on, but it is slower compared to the risk of having a new global pandemic, which is existing to all of us at the global level, but also at the regional level. I think the Imro region is very unique in terms of the structure. Why disparity of economics? We have major insecurity and political instability in certain areas of our region that really increase the risk of outbreaks and also increase the risk of any future pandemics. So, in terms of leadership commitment, I see that COVID-19 pandemic was a very interesting lesson to the political leadership across the world because of the huge impact not only to the health, but also to the economics and to the political systems across the world. However, we need also to realize that some of the challenges that we face are really constrained for the global community to work together in a collaborative approach. We see, for example, nationalism towards vaccines, which prevented us from good access to different vaccinations. So, in terms of the global governance systems, we need to think of what are the priorities that we need to focus on, and having strong healthcare systems is one of the critical issues. We know and we understand that there are fragile healthcare systems in certain countries and certain regions, but we cannot really afford those systems to affect the global health security in terms of emerging new diseases. So, we need to work together to strengthen those healthcare systems in the minimum requirements in terms of the disease surveillance, in terms of the access to care, and in terms of the vaccination. I think Michael is covered vaccination very comprehensively. I would like to add to that the access to immunotherapies, and this has been really a game-changing during COVID-19. However, we could see that immunotherapies are not affordable because of the high pricing that have been really an issue to many countries. So, it was limited to certain countries who can afford it. So, I think thinking about the global governance and preparedness, immunotherapies should be really part of the priority areas for the discussions in addition to vaccinations, because they are easier in terms of the manufacturing and faster in terms of mobilization and effectiveness for the high-risk affected groups. So, immunotherapies really are a very important part of the discussion. I think also talking about innovation and research is very important because we need to not stop in terms of accelerating research. Time was critical during COVID, and our governance in terms of the research approvals and prioritizations are really very slow that are not matching the global needs. So, we need to talk collectively on how best we can revise the governance systems and revise our research regulations to accelerate research and to align our research priorities to the risks that we have in terms of the global health security to the world. The last point that I would like to cover is related to surveillance, and I believe that we have really historically been working closely at international government to define the surveillance requirements across the globe. However, I think our surveillance needs to be revised in terms of being more comprehensive. We had a lot, many disease-based surveillance systems that are really defined well at the global community, but it's not covering all the risks that we have. So, we need to do a risk assessment in terms of what are the potential risks in terms of the future pandemics and how we can enhance our surveillance systems to be more comprehensive, more integrated, and more adaptive to the new technologies to support our preparedness in the future. Thank you. Thank you. And thank you for bringing the issue of research. We're talking of regionalization and decentralization of manufacturing capacity, but obviously research is an essential component.


one of the greatest but long-forgotten scientists of the 20th century, who many believe cured cancer by the same method 83 years ago. As a scientist, inventor, and engineer, particularly in imaging and medical microscopy, Royal Raymond Reif was a genius.


Ok, we may start now. Thank you for being here for this session on energy and environment. During the different sessions of this WPC, the huge importance of energy and environment has been highlighted several times. In fact, in times of multiple crises, this workshop today will discuss the opportunities and challenges to achieve the goals of energy security, sustainability affordability, acceptability and resilience from the perspective of different geographic shareholders, maps out credible and realistic pathway through this most demanding period. So, around the table, there is a wonderful panel to cover all the dimensions of the energy and environment challenges. And so, I will give the floor to the different panelists for 10 minutes. After each presentation, I suggest to have some Q&A session, a short Q&A session focusing on the specific content of the presentation. And at the end, we will have time for a general debate between the panelists and the audience. So, it's my privilege to start by presenting my views on the present situation of the energy sector. And clearly, after COVID crisis in 2020, the energy sector has been faced in 2021 to an unprecedented crisis and to the consequences of the Ukrainian conflict for the last 18 months. So, the growth of the energy price had a major impact on inflation worldwide. This slide presents the percentage of countries with an annual inflation greater than 6%. Most of the countries in the world have been faced with an economic shock similar to what we experienced during the oil shocks of 1973 and 1979. Oil price increased rapidly at the beginning of the year from 80 to 120 dollars per barrel due to the uncertainties linked to the Ukrainian conflict. This growth was mitigated by the possible impact of the crisis on the world economy. For the last months, the price went back to the pre-crisis level, so the impact of oil on the inflation is rather limited. Gas electricity market, more specifically in Europe, has been faced to a first crisis in 2021 due to the market design followed by the consequences of the Ukrainian crisis in 2022. The prices of gas increased from 9 euros per megawatt hour in 2020 to 47 euros per megawatt hour in 2021. Then, the uncertainty on the availability of Russian gas pushed up the price to 125 euros per megawatt hour in 2022, with peaks at 240 in August. In the US, the gas market was more volatile than during the previous years, but the gas price rarely exceeded 20 dollars per megawatt hour, and today the price in the US is five times lower than in Europe. The price of electricity followed the price of gas, 113 euros per megawatt hour in 2021, 297 in 2022 compared to the average price in 2020 at 35 euros per megawatt hour. The impact on the energy spending in Europe is huge. 1,200 billion euros in 2022 compared to 580 in 2021 and only 310 in 2020, which represents 8% of the European GDP in 2022, compared to 4% in 2021 and only 2.2% in 2020. Rapidly after the Russian invasion, the European countries and the EU Commission took measures. An embargo on the Russian coal was decided on April 8 and later on June 6, and these measures have been taken also in most of the developed countries in the world. An ambitious energy plan has been decided to repower the EU in order to cope with the dependence of EU countries from Russian supplies. Most of the countries took measures in order to reduce the impact of the price increase on the final consumer or to promote energy sobriety. A decision was taken at EU level to set up a cap on the price of Russian oil and gas, and I remind that in June 2022 the US government launched a massive plan of $400 billion in order to sustain US economy, the Inflation Reduction Act. As a result of these measures taken in Europe and in many other countries, the OECD imports of Russian oil dropped by 50%, 2.5 million baris per day. However, this drop has been largely compensated by Russian oil exports to non-OECD countries, especially China and India. In one year, Indian imports of Russian oil has been increased by a factor of 10%. Russian export to EU by pipeline dropped from 10 BCM in March 2022 to 1.5 BCM in December, and at the same time Russian LNG exports increased significantly. At the end of 2022, the share of Russia in the EU gas imports is only 10%. Immediately after the first embargo measures, the price of Russian oil dropped by 30% in order to find consumers. In fact, Russia was obliged to reduce the price in order to increase its export towards non-OECD countries. We should not forget the major event which happened just a year ago, the sabotage of the gas pipe North Rim 1 and 2, despite we are playing a major role on the gas supply of Germany. On the 26th of September 2022, several explosions destroyed the gas pipe of the Danish coast. It is the first time that such a vital infrastructure is attacked in a peace zone. Who is responsible of such sabotage? There is no clear evidence, however, the clear winner of this sabotage is the US. If such an infrastructure may be attacked during a peace time, what are the implications on all the vital infrastructure we rely on? Both energy telecommunication. The recent attack of the Baltic connector from Finland to Estonia may be another warning call. Some key figures, Russian revenues from energy dropped significantly. The share of Russia on the EU gas supply was reduced from 40% to 10%. EU investment in renewable energy and heat pumps increased by 40%. The electric vehicle markets increased by 15%. And the EU CO2 emissions were reduced by 2.5%. So in a nutshell countries, the European countries are the guest losers of this major energy crisis we are faced at. This will have a significant impact on our economies and clearly the US are the winners. As far as Russia is concerned, the impact on its economy is rather limited on the short term. However, on the longer term, Russia will have difficulties to compensate its European outlets. For the last few weeks, the dramatic conflict between Israel and the Amas is bringing a new dimension to the world energy crisis. But for the time being, we didn't see an evidence of what could happen due to this new crisis. So this is the scene I wanted to describe. And before I leave the floor to the different panelists, are there some questions to ask or some comments? Just a brief question regarding Indian exports to Europe. Do we have numbers regarding how much Indian exports to Europe have increased? That would be interesting to see how much of the gap India and China actually feel that, you know, the void that was left by Russia. Yes, yes, yes, yes. Okay, great, thank you. But as far as oil is concerned, nobody knows exactly where the oil is going. But clearly, the imports of Russian oil over India has been increased by a factor of 10. That's another story. Yes, please. Thank you so much. Jana Borce from Romania. Thank you so much for a great presentation. But you didn't mention nuclear, the energy from nuclear, which, you know, we know that France has such a great tradition. Romania has such a great tradition. And we are actually working very closely together at the EU level. And we all know that the energy from nuclear is one of the cleanest, affordable and more reliable sources of energy. So maybe in your presentation, you might want to consider to add that part as well. And maybe later on we can, during the debate, I could intervene in a more elaborative way. Thank you. Don't understand on my presentation that I underestimate the role of nuclear, but I was focusing on a world, an energy world in a deep crisis. And if I would have, unfortunately, if I would raise the flag of a problem of nuclear, it is the availability of nuclear in Europe, which in France, which have been reduced dramatically due maintenance issues due to the COVID and also due to technical problems. Fortunately, we are out of this situation. But in August 2022, for the first time in 30 years, France was a net importer of electricity. But clearly now I think there is an increasing consensus in France and in Europe in order to develop the nuclear energy, to base the energy transition on nuclear. And there is also within European countries an increasing consensus. But there are also some countries strongly opposed to nuclear energy. You know what I mean. Olivier, it was not a bad technique. It was new norms. The reason why nuclear power plants were closed in France was mainly for nomadic reasons rather than bad technology. It's important to say. You may afterwards ask a question. So, no.


How about being more futuristic? Hmm, not so sure this line-up's convincing. What about coming across as more reliable and honest? Guilty or not guilty? Well, there's a few skeletons in the closet to overcome there. How about being more non-confrontational? Yeah, right. What about being a tad more cheeky? That's an option too. Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order! Order