QuickBooks Online 2022 Bank Reconciliation Opening Balance Problem. Get ready because it's go time with QuickBooks Online 2022. Here we are in our get great guitars practice file. We set up with a 30 day free trial holding control down. Scroll it up a bit to get to that one to 5% currently in the home page. Otherwise known as the get things done page. Something you can do by going to the cog up top and then the switch to the accounting view down below. We will be toggling back and forth between the two views either here or by jumping over to the sample company file currently in the accounting view. Back on over we're going to open a few tabs to put reports in. Tab up top right clicking on it duplicating that tab. Back to the tab to the right right clicking on it duplicating it again. As that is thinking let's jump on over to the sample company file to see where the reports are located in the accounting view right on the left hand side where it says reports. There they are that's where they'll be located. That's where their house is going back on over second tab and the business view reports located in the business overview and then the reports and then we're going to close up the hamburger. Sheet the big balance sheet and we don't need to do a range change or I do I do need to do a range change. The date is now February here so 010122 to 013122 the first month of our practice problem. Run that report tab into the right and then we're going to go back down to the business overview once again close up the hamburger and then we will open up the profit and loss the P and L the income statement change that range change that range from 010122 to<PHONE_NUMBER> first month run in it. Okay back to the balance sheet that's where our focus is I'm going to focus down even further on the balance sheet to that cash account because we're reconciling the cash account reconciling our balance as of the point in time being January 31st 2022 to what is on the bank statement and the outstanding items the outstanding checks and deposits typically being the reconciling items to do that we've been entering data on the left hand side here finding that reconciliation process it's in the bookkeeping area if you were in the accounting view by the way it would be in the accounting area and then we're going into the reconcile at the bottom and we've been doing the reconciliation so we're going to resume resume the reconciliation process closing to get this thing out of here don't show me this again don't do it again if I'm going to hit the carrot drop down so you'll recall that this number was the statement balance that is on our statement ending balance as of January 31st 61 to 41 and then we have the activity that we put into place which is the cleared items the beginning balance this is where our problem is the 25,000 notice that that doesn't tie out to my beginning balance here how can I reconcile if my beginning balance doesn't tie out that's the that's the thing and then I've got 106 829 on the payments which is not the same as the items here because I couldn't find these two I couldn't find these two on on my books and then this one the 143 70 85 is what we have here so we've got that problem but is it really a problem because like I said we've got everything checked off here like this is this was an issue but and I couldn't find these two but I found everything else and I made them all yellow ties them I ticked them all off they're all ticked off now but I don't care if they're ticked off and then we're going to close up the the triangle but now it says I'm in balance it says I'm in balance so I could kind of stop there and go forward and that would be that would be kind of fine because then everything will roll forward from that point in time but it would be nice within the accounting system if you kind of reconciled or saw what that difference is so that we could basically see it so I would like to be able to actually check these two items off in the current books as having been reconciled in the month of January and I would like to have the proper beginning balance or at least to replicate in essence what the beginning balance will be was something I can check off over over here on the bank reconciliation so what happened then what happened is that this beginning balance was from the prior accounting system where we had a difference between the bank balance and the book balance as of that point in time we had to put it into our system based on what was in what was on the books because we had to be in balance and there was 25,000 in our system that we needed to put the beginning balance into our system at 25,000 so that we were in balance but that 25,000 we put in place was correct for our bookkeeping balance but not correct with regards to the bank balance because there were outstanding checks at the point in time of the end of December or the beginning of January and obviously those outstanding checks are these two items so these two items represent the outstanding checks so those two problems reconcile them out if all those outstanding items happen to clear in the following month which is quite likely and that's why it nets out to zero but what I'd like to do is put these two into the system so I can show them as having been something that cleared in the current timeframe even though they were entered into the system in the prior period to do that I'm going to look in I would have to look into my prior bookkeeping actually look these checks up as to when we wrote the checks and it would be sometime before the cutoff date in our case January 1st of 2022 it'd be most likely sometime in December so I'm going to go and I'm going to put those in those two checks in as of the date they were written not the date they were cleared and then clear them as of this point in time then I can also change my beginning balance in other words I can change my beginning balance to represent the 25,000 cleared balance and then I can put these two checks on the books which will decrease in essence that balance back down to the 25,000 but be able to check these two off in the current timeframe allowing me to see the activity of these two items actually clearing in the current period and being able to see that current balance at the proper cleared balance of the 30,000 okay so let's see how that would work let's go back on over and say okay well how in the world are you going to do that well let's let's leave here for now let's say let's say I'm going to leave leave this save for later save it for later and then I'm going to hold up I'm going to open up the handbook and then we're going to be in the bookkeeping area again let's go into the register the chart of accounts and then the register closing out the hamburger and then I'm just going to go into the cash register I don't want the bookkeeping help here we're going to close that and we're going to go into the view the register view the register so there we have it and now I'm going to imagine I'm looking up these these two checks and I'm going to put them in our system as of the point in time that we actually wrote the checks and then I'm going to go down to the beginning balance we put in place which is all the way down here at the 25,000 and I can actually adjust that 25,000 to 30,000 so once again this is going to go up you could you could change this to 30,000 and then record the other 25,000 as the two checks which will take it in essence back down to a net balance of the proper 25,000 but broken out into the three items so let's see what that will look like let's go up top and say okay I'm a little worried I'm a little scared it'll be okay we can do this I'm going to hit the drop-down and we're going to say this is going to be a check do I want it to be a check is it a check over here it's it has no check number let's just make an expense form let's make it an expense form is that what I have here I want to make it an expense form and then this is going to happen let's say as of the prior period so let's let's say it was on 1225 to one prior year not when it cleared that's important we're not putting it on when it cleared in January but when we wrote the check or process the transaction which would most likely be a check if it took that long to clear but in any case we're going to say then the payee I'm going to say is epiphone epiphone and this is going to for prior period check I'm going to just put that in there and the payment is going to be for four thousand and the other account now epiphone is who we buy our inventory from so it's most likely that the other actually went to inventory but I don't want to post anything to inventory because when we set up our beginning balances the beginning balances were correct so in essence I just want a clearing account for this these transactions to wash out because once I enter the three transactions they could they should basically wash each other out so that the other account we go to will be zero we could go we're going to take it therefore to some equity account and we could put it just into the owner's equity but possibly that opening balance equity is a perfect clearing account for us to use because we are in essence doing the beginning balance here adjustments for these open items for the cleared items so let's put it into opening balance equity opening balance opening balance equity cannot am I does now what they call it here or beginning balance beginning balance we'll call it beginning balance beginning balance so that's the one we're going to put it in here that's a clearing account after we do these three transactions that should go back down to zero so let's go ahead and save it and that I'll do the same thing for the one I'm going to hit another expense account this one I'm going to say happen let's just say on the 26th of the prior period so now I'm looking at this check here the second check going to put that in place and this one let's say it was for Gibson USA just for example purposes prior period check we're going to say and this one was for 1000 and it's going to go also into the beginning balance account so those two go into the beginning balance account now we're going to adjust the beginning balance that went into cash if I go down below that's this 25,000 to 30,000 which will be the other side which also went into beginning balance if you're not comfortable doing this you could add another transaction which would simply then record record the the 5000 to beginning balance so you can see it in two accounts and then you just have to check off two accounts as you start off but I'm going to go ahead and change this I'm going to say let's try to make this 30,000 and then I will save that so we'll save it the transactions you are editing has been reconciled it hasn't yet been reconciled because we haven't finished it so I'm going to say yes and so there we have it so now we've got that 30,000 here instead of 25,000 the 1000 and the epiphone I put on for 40,000 which is wrong let me change that I know you've probably been telling me you're trying to tell me you added another zero you added too many zeros okay I fixed it I fixed it now 30,000 for 5,000 difference and here's the 5,000 down here so that should basically wash out if I go to my balance sheet and I refresh this I'm just going to run it back and run it back hold down control scroll up a bit go on down go on down to the beginning balance area and then here's the stuff that happened in the beginning balances let's then go on back to the prior period let's say let's say let's do this 0101 212 this is before we actually started our current information this is when we entered the beginning balances so now we've got that 30,000 that is here instead of the 25 that's washing out against these two expenses that brings it in essence back down to 25 and so the total is back down to zero okay so going back up so now now then we can go back to the reconciliation so I'm going to go back to the first half open up the hamburger and I'm going to go down to the bookkeeping area again and this time go to the reconcile going to reconcile things you got to reconcile so we're going to go into there and then close the hamburger, resume the reconciliation process the process may now resume the process may now resume so now we're off by 5,000 because that beginning balance let's open up the carrot right here beginning balance is now correct so now if I was to check all this stuff off we got the beginning balance we got the same starting point I can kind of check that off and say yeah that checks off and then we've got all of the 143 70, 85 that's the increases that checks off that checks off and then we got the 111 829 we don't have that because we got to check off those last two which are right here now they're in the prior period that's the issue check in those two off check, check, check, double check and now we're at the 11829 so the 11829 there it is so that means that the ending balance that we have to has to work, it has to reconcile so we're at the cleared balance now of the 61, 241, 85 the cleared balance represents the ending balance on the bank statement so you can think about that as in essence the bank statement balance in our books it's the cleared balance because it's the one that we checked everything off onto clear what we're looking for now are the unclear items because the unclear items are the items that are going to be the reconciling items taking us from the cleared balance or bank balance and tying us to, reconciling us to the bank balance which is what is now represented on our books here in the good old cash account the 88 645, 25 so that's where we stand now now next time I'm going to actually we want to look at the reports I'm actually not going to finish it I'm not going to finish it quite yet I'm going to finalize it next time because I want to look and review the reports next time it's like you're really dragging this out I know but I want to look at the reports next time and sometimes they kind of adjust the new track of those because you might want to print those out so you have a static copy of them in essence because they're a little bit different than other reports and we'll talk more about that next time so I'm not going to finish it yet man really not yet next time we're going to save it for later next time we're going to be back here so make sure to do that because next time we're going to hit that green button so you won't want to miss it


Nick Folk had the game-winning field goal last Sunday and the Titans have certainly enjoyed having the veteran kicker as part of the roster already, he's 7 for 7. When the Titans traded with New England for him and we started doing research on Nick Folk, we looked at him in the 2007 NFL draft and found that that draft was quite an interesting one for a lot of reasons. So we wondered, what does Nick Folk know about his own draft from 2007? In our epic western spotlight, we quizzed the kicker, Nick Folk. Nick Folk drafted in 2007, do you remember what pick you were in the 2007 draft? One of two, 172 or 176, I don't remember, off the top of my head. 178. Okay, so are you ready for the first question? All right, who was the first overall pick in the 2007 NFL draft? Jim Marcus Russell played LSU in 06, at Arizona went to LSU and we had to play them and they were stacked. They had, I think, maybe five first round picks that year from LSU. So this is an Arizona related question. Number two, who was your former Arizona teammate selected 50th overall in the 2007 draft by the Tennessee Titans? Chris Henry, running back. Very good. You know what he was most famous for here? Do you remember the Daryl Reed hit in the Colts game on the kickoff return? Yeah, I think I remember vaguely any fumble, didn't he? No, he held on. He held on to it, okay. But I remember that, yeah. Final question. Name the three players from the 2007 NFL draft who have already been enshrined in the Pro Football Hall of Fame. I'm going to go in order of the way they were drafted, because I remember this. Megatron? Megatron, Calvin Johnson. Joe Thomas. Joe Thomas. Daryl Rivas. Daryl Rivas. Pretty amazing when you consider it hasn't been that long ago and three guys are already in camp. It's wild to think about. I played with Daryl in New York, and us to kind of think about, he had obviously a really great career. And where we are now, I'm still playing and some of these guys are in the Hall of Fame. And there's a five-year buffer for the Hall of Fame. And so it's impressive to have played with some guys who you were drafted with in the same class. And they're already in the Hall of Fame. Nick Folk. Pretty good job on the quiz for your draft year 2007. Thank you. I appreciate that.


Okay So thanks for coming this morning. I'm Christophe Sotier. This is Stefan Albert We are both working for a company called objective free and we are about to talk to you about Cloud kitty, which is a rating component. We are developing in the company Since we are just a small company and the French company. So by the way, you might notice that in my English I will just give you a few facts about our company We are an open source company. We just work on open source technologies with a strong emphasize on infrastructure actually, we have a strong emphasize on innovative Technology like for instance open stack, but also technology that we can use around open stack So we'll talk a lot about automation like perpet on civil or virtualization like KVM or Docker or all this kind of stuff We have a strong commitment in the company. The first one is to Satisfy our clients We are really happy to say that we have more than 98% of our Customer who have followed trainings with us were satisfied by that It's quite important because we gave something more than 3000 we had more than 3000 trainee So 90% of satisfaction is quite high We tried to be a major open-stack contributor with our With our way because we're just a small company like you see later But usually we are in the top 20 contributors. So which is quite good for us We're also making some nice shots as you can see, but this is not our main interest We also have to do some billable stuff for our clients. So we do consulting expertise deployment support we developed a wide range of activities around open stack like starter pack, which is a mix of trainings and proof of concept and we have a quite complete training catalogue Just to give you some numbers since rating is quite related to figures the company has been started in 2009 we have a growth of about 40% for this year and In this revenue about 11% are dedicated to research and development We are about 10 and we are 10 in the company We have two offices one in Paris and one in Toulouse, which is where the headquarters are located and More important here. It's our fifth open-stack summit. So we're involved in the community for quite a long time What will Tackle here is our open-stack involvement We spread open-stack whenever we want Like I said earlier, we do a lot of trainings with your support We help people to increase their level and their knowledge of open-stack I am quite involved in the French community since I'm the secretary of the French community We do a lot of proof of concept. We contribute anytime we can and we also Deploy clouds for some of our customer or partners and one thing that occurred a lot during this employment was I Can I build my customers? I cannot charge for the service I'm providing So the first answer we gave was oh, that's annoying because you can't find anything on the open source way in the open source world or at least something which isn't Maintain which is maintained or still active and at some point we said, okay, it's been the Third or fourth time we've been asked for that. So let's do something about that. So we said, okay Right now you have nothing for sure But in a few months you have something and we'll we'll develop that thing and that thing is clocking it So clock it is an additional rating component for open-stack It's developed with the full respect of all open-stack best practices We will give you an overview of that in a few minutes. It's fully integrated with open-stack We have we are able to retrieve information from Cilometer using the API or whatever we need We can get information from safe and Stefan will explain that later We are fully into getting it on rise on horizon like you might be able to see Inside the demonstration we give you and it's highly modular really highly modular Clock it as you can see here fetch is Okay, I'm the son was not working if I turn it on it won't work Clock it here right here fetch this information from an API because that's the way to do things and then you process data and Using and depending your usage you want to do depending your role It will give you different options and different things to do By instance if you're an IT manager you will be able to give your users a Tool to predict the and track their cost usage of your cloud, which I mean is quite important for them If your cloud provider well just need to charge your customer not just that but this is quite important for the safety of your company So you'll be able to define the full pricing Policy you want to apply for your customer You'll be able to address all your clients because it's multi-tenant you'll be able also to analyze the Usage of your customers because you'll have an administration panel that will give you a disinformation and Something that we have developed lately in clock it is that even if you're not providing a cloud yourself even if you're just An editor from the application you can use clock it because clock it it can be a bit separated from open stack and just Allow you to charge and to create the rating and join of your application Are in the French in our using something which is not Claude really yet Okay, so let's dive into cloud city architecture. So as Christophe emphasized previously We are highly modular so every piece I will show in the next slide are still the module So it's a way to load a piece of code into an existing application First PC piece is the tenant feature So basically it's a way to load you IDs. So it's tenant IDs in the case of open stack So you can have different tenant features For example, if you want to apply rich angle SAS application and not open stack You just need to have your own driver And for example database and then you load IDs of your clients and you can apply that to SAS application for example so it's a way to Make cloud kitty work even outside of open stack application In our demo at the end we'll use the keystone turn of nature Which basically fetch all the tenants that cloud kitty can access and Check for the rating role as soon as you had a cloud kitty in the tenant with the rating role It will get fetched and all the data in the tenant will get our processed for rating So just a quick look at the configuration pie. It's pretty simple. You've got a tenant feature section So you can specify your back end which will be loaded dynamically in the code later Another section keystone feature Feature where you set your keystone credentials as admin So cloud kitty can fetch all the tenant and see what's going on Second point in the is a collector. So basically it fetch all the metrics data from back ends You have two possibilities. Oh, by the way, the double blue arrows static configuration in the configuration file and the credit Orange arrow for dynamic all dynamic Configuration so two possibilities even you set a module in your configuration file For example Cilometer if you only want to do Cilometer or a more advanced way is to use meta collector Which exposes and yep and API to your Administrators so you can Use multiple collectors Set priority on the metrics you want to collect for example If you got a Cilometer and a vendor plug-in for network application And you want to have all your compute data from Cilometer you can set Compute for Cilometer and networking information from your vendor plug-in to have additional information for rating for example if you want to have If your vendor plug-in can show you east west and south north Bandwidth then you can do rating on this kind of metrics Again a quick look at the configuration so you've got a collect section which is the generic Configuration so you set your collector is it's very Cilometer the period is the rating period So basically one hour it means that every hour we will check for new data on your metric back-end and push it back in the Rating pipeline wait period is the amount of Periods we lag in the past to be sure that all the data is present in your metric back-end and The services is simply a list of all the services you want to collect and apply reaching home You can have a large amount of metrics you will collect you're not Enforced to use them later in your rating process and then again the Cilometer collector section Which is basically keystone credentials to access Cilometer as we are using separate separate parts for every Authentication tenant fetching you love to put your credential multiple times Okay, so the third part is Pretty simple. It's short a shared code between the collectors. It's transformers their goal is to Take your metrics data and put them in the length format that is and a symbol understandable for cloud kitty So it's just shared code and you can enforce The dependencies directly in the collector modules Okay, so now the interesting parts. It's our rating part. It's a fourth fourth part So rating it's Pretty simple. You've got a lot of module that you can load dynamically in your application And you can choose to enable or disable them on the fly with an API You can choose to every rating module can expose its own custom API So you can configure them directly from an API There is way to load Code in your client and in your dashboard. So basically you expose a custom API Your clients don't need to know all the API is working. You've got Steve Dore namespaces So the client will automatically Automatically get new shell commands. So you have directly and direct integration in your CLI application or horizon dashboard and They are executed sequentially. So you can set priority for every rating module on the API on the fly So you can execute them in in a defined Deterministic way The storage parts. So it's pretty simple actually. It's just a civil module to an extension It's responsible of rating all the data to a back-end in our example is sequel alchemy. So it's equal database And it's here to ensure consistency. So you know that the data you put in your back-end will get consistent. You don't have Multiple rights of the same thing Etc. We have a common API on top of every storage back-end. So you can query Your storage back-end from the API to filter on some resource types period and other metadata so you can generate a report really easily and The last part of configuration. Sorry. So it's two lines actually So you can set your storage back-end easily here. It's sequel alchemy Last part orchestrator. So it's huge glue code of all the previous pieces you've seen It's a component that loads all the previous parts and do the dependency checking Its goal is to maintain the Walker pool. So In cloud kitty, we have a huge pool of workers so you can thread it and have a good performances There is API workers and processors worker Basically, you've got an API node like you can set on the front of your Infrastructure and every message is go through a message queue So when you when some of your clients want to have a price for example They want to start a new instance and they want to know the price before the instance is started You can have a nap an API call which will go in the message queue Is processed by the processor so you can have huge computers to do a processing and then it goes back to the API And there is a processor workers which clearly do all the collection and the rating and the storage So back to Christophe Thanks All these information that are gathered by clock kitty need to be used after that So that's where the report generator takes place It will take the data that we have processed and put them into a consolidated file actually since clock kitty is quite modular you can Produce the file the way you want and even you can produce many files at the same time So if you have different tools since this is the goal of this kind of file If you have different tools that need to take this information, you can give them at the same time If I have a closer look at the ash black module, which is a rating module Stefan just not just mentioned We had to introduce a way to organize things so the first thing we define was a group a Group is a set of rules that to want to be applied at the same time Then we have the notion of service a service matches a clock kitty service, which is basically The family of thing you want to process to process you want to process compute you want to process network You want to process storage? That's it Using this are inside a service you have many failed you want to address it can be the image the flavor Things like that the image ID actually the flavor things like that and once you have this file ID You want to define some price for that? So it will be Using a mapping as result the mapping is just you said for this image like you'll see later You you because that's amount of money it would discuss But for a threshold it would be with different level by instance for storage You want to charge your customer this price for the first step of Storage, but when once they are gone further this level of storage You want to charge them another amount of money? So that's what threshold is for and so when you gather all these Abstraction groups of our service fill mapping and threshold you are able using ash map to define your own policy so Let's give you a demo of that We're about to do a rating policy, which is outset quite complex because it will involve a few stuff and Let's have a look on the impact on the user. What will be the output for the user? we'll start with All I said about the API is a rating module all to enable them disable them So we'll show you how it's working So you've got new panels actually in horizon. You've got a rating panel You've got two panel one for users and one for administrators So here you we are in the admin admin section and you can access all your rating modules There is two fields Oh We are going to enable ash map actually so you just click on enable module and it will send an Message to all your processors to tell them to enable the module. So basically It enables you to ensure consistency on all your calculations The messages are sent to all the workers. They finish their processing and when they're done They load the new configuration so you don't have an inconsistency in your calculation No further we'll show you all we do rating policies. So we will work on the ash map module We'll start with the compute. So we want to charge people on compute usage. So you set a service as compute, okay?  So here we want to charge on instance of time. Okay? It's just a tag. There is no meaning to the name of the group. Okay, it's just to Different rules we create a new field. So a field In cloud kitty is a mapping between a resource and its metadata. So here we want to Charge the people based on the flavors they use. Okay, so we'll start with in one nano Which is a small one. It's a Dev stack one actually and And there is two type. Yeah, we forgot to talk about two type flat and rate Flat is the base price you want to apply. So basically you can have multiple of flat price for different fields and the best at the highest flat price will apply and rate is made to apply discount or Modified the price basically so we apply two field mappings One for M1 nano one for M1 micro with different prices on an on a per hour basis and We want to show you what? What the rates type is doing so we will simulate Basically, we want to say that Windows images consume more resources than Linux images So we want to add a 10% increase in the price So here we reference the image ad so the UID of the image in dense in The field to map and we set a 1.1 to apply 10% more to the price So next we want to rate another service Which will be volume so again we create a new group because we want to Separate the calculation from the end-to-end sub time because end-to-end sub time is a Is a set of rule and we would don't want to apply for example threshold rates to our end-to-end sub time calculations So again, we've got a flat price, which is a price per gigabyte for volume Okay, and we set the group and then so service threshold There is two type of threshold actually there is a Service threshold and field threshold service threshold apply in the quantity of your service. So if you're familiar with Cilometer is a quantity in Cilometer and Field threshold apply on the metadata so you can apply levels on Metadata value of your resource So here we want to say different price for example when you're going past 10 gigabyte You will have a discount and when you go past 20 gigabyte you have a discount to so 5% for 10 gigabyte and 8% I think for 20 gigabyte so Next thing is the floating IP. We want to charge our customer for every floating IP They will consume So again, we create a service mapping not a field mapping because we want to apply our rating rule on the number of floating IP they are using and We don't need to know metadata of the floating IP We create a new group because we forgot to so yeah, you you can modify all your rating rules on the fly and the New configuration as a reload Configuration messages are sent to all the processors so they can reload the configuration as soon as they are finished with the current processing So now we will show you the predictive pricing which is a feature you can show to your users Actually, we only do this on instance creation But we plan to add it on It's that creation so people can send it templates on your cloud and know how much all the resources in your template we cost them as you can see there is a Below the total RAM Number you can see the price so it will be changing as soon as Their user is choosing a new flavor or new image So for example, there is a rate on the flavor so you can see that 10% Increase is applied if you choose the windows image So that's for a predictive pricing and now we will show you what's What's going on with the rating and the reporting in Cloud City, so we have a Small panel which shows you the total for the current month so you can know All how much you have consumed and then there is a whoa, it's looping Okay, and there's a reporting view. So basically you can show to your Clients what they are consuming so they can know if it's Based on bandwidth usage on compute usage, etc We plan to add more views for reporting so they can have History of what they consume previous months so they can know if it's Because their bandwidth usage is increasing that their billing is going up, etc Okay, and Christophe will show you next Since Cloud City is fully open source, we have a roadmap that we are really happy to Show you and to share with you Currently We're about to start looking for a partnership with some major actors so that they can promote and we can have an integration with them we really hope to be able to Enter the big tent in the last cycle so far clock it is on the stock forge already, but Entering the big tent is clearly a goal for us and from a for technical roadmap We want to add as I just say we want to add new reporting in the dashboard We want to add translation, but I'm sure you can hear us. We are French So French people want to have French UI so we need to add translation We are we want to add new rating parameters So at the moment when you modify your configuration for the rating it's applied as soon as you apply your new configuration So it might Be some problems if you want to apply new rating For the next month for example, so we want to add validity period like you can have in X 509 Certificates say This rating rules is applied from this period up to this period and you can have some nice transitions between your rating policies we want to Improve our walker pool to have a nasa and cruise walker pool because at the moment is all sequential so it's It's not the best way to scale. We want to have a nasa cruise API because Huge huge consumers. We are huge volume of data and reporting data So you can have timeouts on your API so you want to query it multiple times and We need to add a synchronous API to do this and then we want to have a configuration a configurable rating period so For example your bandwidth you don't want to charge your users on an hour Perspective because there is burst and it's not really representative of their consumption So you want to charge them by month basis for example So we want to add this possibility so you can have an instance of time for one hour and then a bandwidth consumption for a month and That's it for the technical points Since you all see we're right here at the UDS Vancouver we're Are planning to Do some communication stuff like a dedicated website actually This is something that we've already started to work on and it should be on I said maybe in the next few weeks We hope so at least we're about to attend the cloud week in Paris, which is an event at Wilbur that will take place in First week of July. I think we hope to be there at the next ODS in Tokyo for sure Cloud kitty is actually running in production in some of our customers already We can mention the it era which is a customer of us Which is a small French company that runs a public cloud But we have a few of them who are using cloud kitty in production or advanced testing at least We hope that maybe You too Will use it or test it so please feel free to ask us for any questions you have Actually if you want to test it you won't start it to test it in production. You will just test it maybe on Dev stack so The integration and to test the cloud kitty on Dev stack is quite simple just take these two lines Here on your local conf and that's it. You start your you start your Dev stack and you have a cloud kitty So it's quite simple actually and Please come to visit us on our booth because We are here. It's a booth T 55 We're here to help you to answer all your questions because There are for sure many things you haven't been able to explain right here You may not have seen very clearly the demonstrations. So we have the link We have the videos with us so we can explain them to you directly We can talk with you. We'll be very happy to give you the last shots. We have to Not a lot unfortunately We will give of course. We will publish the the slides online Putting the links to the videos too. It would be easier on it and I think that's it you have our contacts here our Twitter and things like that and that's it If you have any questions, I think it's time Yes, so the question was We have apparently tackle quite deeply the rating part, but for a public cloud provider There are some other needs like billing and processing payments like that Can answer but you can answer too Basically, we don't plan to do that. We are clearly for rating The idea for us is to say that all the building stuff to produce the bill really to produce the file that your user will need and the Payment processing like you said all this kind of stuff is already for all the big cloud is already in place or All companies have their different needs. They're different tools. They're different process many companies that clearly so they They don't want to have another tool to do that So we are more focused on giving them the file They will put inside their tour inside their ERP using the right format and so that they can interact with it instead of Brought bringing them a new tour that we replace the exit tour with their all this turn and see like that So we're just tackled rating just to add a quick thing Actually, we want to bridge the gap between your matrix and your building system We don't want to do a building system because tax system is different in every country accounting is different in every country That's huge. That's huge. That's how to how to maintain and there is a lot of project to do that So basically what you can do is even write a storage back-end that will put it back in your building system directly without Even generating reports or you can even even create a new rating Module and use your building system. So you take data from quality Use your rating module push it back in your building system Pull it back if you need to get it back store it Even in your SQL SQL back-end or push it back again in some new building database That's what we do with the the client was mentioning earlier. They already have an ERP They are already have the building system the processing of payment They already have all these kind of things and they don't want us to Change that because they already have an infrastructure for that They already have clients or all these kind of stuff because they're not just doing public cloud They're doing other stuff. So they ask us to be able to integrate integrate with it Any questions? Yes Yeah, can you go to the microphone? Sorry, thanks Threshold buildings or you reach a certain threshold and you can up the rate But can you can you front load that right now? Are there any plans to do that in other words if you have customers that you already want to put on? The platinum plan or the gold plan and you want to charge them different pricing. Yes, we can yes That that can be done. Yes. So the question is that we have Threshold, but can we do plan for customers saying that okay this customer as Sign for sign up for this plan with this capacity and thing like that and can we chat for that, right? So yes, we can and actually some of customers already asked us for that. So it is it is a case. Yeah, and as a question Hi Yesterday in the rating session it became very clear that there's many people doing their own thing for their own use cases And in the end there was a question.  Should that place be cloud kitty? Do you intend to be the rating system for open so the question was Yesterday there was a yeah, you write on the microphone, but I would just repeat it Just to be sure I understand clearly The question was there was a rating session during the ops track yesterday and The conclusion the conclusion we were there and the conclusion was that many people were using their own system developing their own system And so do we plan to be a common framework for all of them? Actors we really hope so That's what we hope to do. Actually. This is something that we have started to do along Sometime ago already because when we start to announce Cloud Kitty, it wasn't last September or something like that We are runs it were quite widely a few companies said, but we're also doing something like that and we said, okay So that's great because we love to see that people are interested in rating And so we decided we decided decided to have a lot of meetings together to define the perfect architecture that we want for a rating system for open stack and so we Defined the architecture and at the end we compare that with the existing tool and It turns out that the architecture there was the closest to what we get was Cloud Kitty So we said, okay We should put our info all together on Cloud Kitty And so we have addressed a few points that were bothering the people The other company the people from the other company so that it won't be really open really wide that can address all the needs that we have for this architecture and Cloud Kitty is the activity you're seeing right now is this result Okay, thank you. I've got another question on scaling There surely there must be some scaling limits. Can you scale up to let's say 5000 hypervisors 10,000 virtual machines? so the question was for scaling and If they're I would just say that do we have plan for scaling to address a lot of data so Maybe if I can say that we want to have big users actually our clients are not that big so we will have more hundreds of VMs So we don't have real Feedbacks from big users so we are really happy To have feedbacks from great users big users So you can see where are the pain points and what we can improve to scale Actually, we're using Cilometer APIs. Some people don't like that We want to add a new collector a new key collector so you we can have better scaling opportunities and Basically, if you are using stack tack or every other stuff, you can just create your new module. It's really simple to Get a metric. It's just a module and your module exposes a function and the function is responsible of Pushing back data to cloud kitty. So it's really simple, but we don't have with experiences on big Cloud use age, but actually just to complete We clearly have developed our kitty to be able to scale So all the components that we explain you earlier They can be separated. They can be exposed. They can be exploded because they are communicating with a messaging like all these are Components in open stack. So we have designed open Cloud kitty with the same mind than the rest of the open stack components So to be a scale to be to be scalable So we we don't have the test case yet, but we think it should be okay. I have a question about The link between I would say a tenant and some kind of rating system So basically the future of open stack and the identity API is v3 I would like to know if there are plans to work with v3 because it changes a lot in terms of The way it works So we are working with v2 at the moment of Keystone we Don't have plan for v3 If people need v3 we will work on v3 But for the moment all our clients are using v2. They don't use a federated Stuff in open stack. So we don't support v3 at the moment If there is a huge demand for v3, we will look at it But at the moment we want to add new features Create a more robust Rating component like I said, there is some Stuff that we can improve like validity periods and we don't want to focus on v3 if we can have a Real robust a rating system before Actually, I think it's quite related to the previous question because the people who will be interested on all the new v3 identity stuff will be the one with a huge With the we've used clouds So if we are not able to bring them the scalability we we think we have and we've if we won't Start working on v3 Since you have noticed at the beginning with just a small company We are welcoming a lot of patches for sure, but so far the patch are not that often so We will come patches whenever they get whenever they arrive for sure but this is something that we might do clearly and we are really open to have a lot of feedback and a lot of Questions about that, but this is not on that. I will it's not on our roadmap yet because we haven't faced the need yet That's it And there's a questions. Yeah Hi, so I Do work for a large enterprise and we're trying to put an open stock and one of the things that comes up is we're looking at the Reading side as of right now everything. So I have a couple questions Just mainly I guess feedback or maybe feed food for thought One question is the financial auditing aspect of things anything financial related There's an entire audit trail and things that need to be maintained I'm just curious. Is that something that your clients needed or you guys have started looking into or thought about? so the question was Usually when people are using to I started to touch to the Billing system or to the money actually Then it's to be an audit of the financial stuff I a customer did quite a lot of tests on their own system to see if it was working They didn't have outside a proper financial Audits like this, but they did a lot of tests and tests and a lot of testing and so far it was working. Well, so That's it But we if you have any idea you can do that properly sure Mainly by auditing what I mean is that Financially posts so two years down the road They should be able to see the history and make a report saying that these certain things had this much charge at that certain time So those that's the auditing part second question I had was People did talk about having having customers on platinum gold things like that. That's very interesting Within an enterprise we have I call it funny money where one park has to pay certain money But since Nobody in at least in the enterprise We don't have the credit card system where you put down the credit card and you'll get charged as you keep getting using it So it's usually an upfront cost So I'm curious if any of your clients have thought about or have you guys thought about maybe looking at You put in a VM or a project and you say that this is the upfront cost that they have now provided And then as the time goes on at what point they did below How much they had initially paid so I can go back and ask them for more money Is that something that has ever come up? No, I don't think so. No, I don't think so Actually we are welcoming all the ideas we we have created a quality to have an open source rating component so everyone who wants to add new ideas and Shape the future of quality. We are really welcoming them Because everyone is creating his own rating system and building system and we want to share all the Knowledge of every people on the rating part to be able to have a solid and robust rating part Thank you. I think we are out of time. Yeah, you can just talk to us right now Thanks


Metal nanoparticles have been used extensively in recent years due to their unique optical properties known as localized surface plasmids resonances, LSPR. Gold and silver are two of the most commonly used noble metals for plasmonic applications because they possess distinctive properties such as high refractive index and strong absorption of light at specific wavelengths. These properties can be harnessed to create highly sensitive and selective biosensors for detecting target molecules. This review discusses the synthetic methods available for producing AG nanoparticles, the different coatings that can be applied to them, and the combination of gold and silver nanoparticles for enhanced plasmonic biosensor performance. This article was authored by Alexis Lausot, Victoire Assela, Gabriel Boydolalon, and others.


launch YouTube all right we're live on YouTube and I'm going to open up the webinar and we're live we're on welcome friends we're going to get started in just a moment welcome welcome hello everybody we'll let the attendees fill the room here good morning all right I'm going to jump in with some announcements um hopefully this is working yes okay here we go good morning friends welcome to the san francisco public library virtual library we are excited here today to be partnering with the mexican museum our continued partnership and we hope to continue in the future as well so this is part of our summer stride events and summer stride is not just for youth so you can join up and do your 20 hours of reading and get your iconic san francisco public library topa with that beautiful art you see there from kanalani wanita who is a bay area children's illustrator and amazing human being we want to welcome you to the unceded land of the aloni tribal people and acknowledge the many raw mutish aloni tribal groups and families as the rightful stewards in the lands in which we live our library is committed to uplifting the names of these community members and nations with whom we live together we encourage you to learn more about first person culture and land rights and later on i'm going to put a link into the chat box where you can find a giant reading list on first person culture and land rights resources and reading list i want to just tell you about some quick library info we have a five monthly read of our library that's been going on for years and years it's called on the same page and we are celebrating the work of jacklyn woodson and reading red at the bone jacklyn woodson is a renowned children's author and y a author that's young adult and she will be in our virtual library on august 12th discussing her youth focused work but this is an adult book so check it out at your local location and we'll have a book club as well tomorrow academics talking about the black panther tales of wakanda super excited about this one it should be very fun on july 30th we're going to be doing some styrofoam printing with our local favorite artist ali bloom uh the 28th we have the tinderloin museum and san francisco neon and the director of letter form archive joining us to talk about neon and fonts on matchbooks so that should be interesting and i don't know if you know that san francisco public library has a jail and reentry services department this our department is a very small team but mighty work they do and we serve all the jails in san francisco with actual going into the jail services providing books and resources but we also do referenced by mail for all of the jails west of mississippi so they are a super important apartment department and they also help folks who are released get back in with reentry services job services and things like that housing etc but this film is about social justice and restorative justice movement and takes place in san quentin so very local san quentin's in our backyard and just how how we serve these citizens that are our citizens and our community so come check this film out all right well i would like to introduce bertha redriguez from the mexican museum and she's going to give us a little info an update about what's happening at the museum bertha hi everyone thank you anicia anisa for inviting us um thank you for this opportunity uh we are very happy to partner once again with the san francisco public libraries the summer stride programming for 2021 uh promoting our digital exhibitions which is an effort that seeks to showcase the work of internationally renowned mexican american latin american and chicano artists for those who don't know us uh i'll share a bit of history the mexican museum was founded in 1975 and since then and throughout its history the museum has adapted to diverse dynamics that affect the communities that surround us our permanent collection comprises outstanding pieces by mexican mexican american latin american and chicano artists and as well collections from latin america mexico and the united states as we are right now currently undergoing a process of reconfiguration that will result in an expansion of our galleries and our main purpose is to serve as an axis of unity and diversion for the hispanic community in the california bay area and the united states we're very happy to have our exterior completed which marks a major milestone in the development of the new mexican museum and like many construction projects we have experienced delays due to covid related construction and logistic challenges and but we plan to welcome the community in the new space in the near future in the meantime our teams continue to drive process forward and in addition to completion of the exterior the mexican museum has secured new collections and we are actively planning the first exhibits for the new space we welcome your support and we invited you to visit our website mexicanmuseum.org to see our exhibits and if you want to tonight go to support thank you thank you bertha so good to hear an update on what's happening i know san francisco has been waiting a long time and we are still waiting we're very excited and and definitely want to support the mexican museum all right we are in for a treat today i am um so in love with the work of this artist naeum the zanel gorgeous work so we are in for a treat because we have a scholar who has richly studied his work um sofia solis has obtained her their doctor of philosophy from autonomous university of barcelona and their phd is on naeum zanel uh solis is a researcher of that communication department at the autonomous university of agua agua us calina ah calientes yes i'm the lawyer so i'm so sorry everybody um they have developed different postdoctoral projects in mexico slovakia academy of performative arts slovak slovak academy of sciences and latvia academy of latvian culture how exciting um solis has uh linked cross cutting study of cinema and gender and has published articles relating to feminist film theory and decolonial thinking in audio visual media that is such an awesome um lineup of what you do so sofia so i am so excited to have your knowledge and to share what you know about naeum zanel and i'm going to turn it over now okay sofia thank you for being here thank you thank you i mean i'm so excited to be here thank you anisa and thank you the san francisco public library and also thank you to the mexican museum again for the invitation and like um over the top to share with you my research and also to share with you the work of the maestro naeum um this research took me around four years to complete and um this also gave me the chance to to meet the maestro he was very kind inviting me into his home back in snango del aire and he showed me some of his pieces and i was like very happy to see some of these paintings in person so um let's start i'm going to share my screen please anisa if you can tell me if everything is okay okay i think i'm sharing okay perfect so if you haven't visited uh you haven't visited the online exhibition of the museum please visit it it's a very good chance to get to know the the work of the maestro it has a beautiful text from black caversial uh it's very well written and i think it's a very good opportunity to meet to to approach the work of the maestro it's also beautifully selected here and i also gave a talk back in december last year um also about the work of the maestro this talk was in spanish language but i think if you want you can understand most of it anyway i will talk briefly about what i said back then okay so let's go to the presentation so the first thing we have to have in mind when we approach or or when we enter the one exhibition from the maestro's home is that he has a very uh solid discourse about self representation so it's like 99 percent of his pieces are self-portrait so he's very committed to this self narrative um so we need to have this in mind because we are entering to this exhibition and we only see these self-portraits okay so this this is this is very important i i i wanted to highlight this this before we start then when i started uh my research i found out that there were two main interpretations of his work uh on one side they were telling the art historians were saying that his work was a confession that something very deep like he was telling a secret that he cannot tell by speaking words but he was um painting this secret you know through this his artistic career he was uh telling this secret confessing this secret and for me this kind of interpretation was not reaching you know the political potential that i think his work has and in the other side the other as art historians because they were divided uh they were saying that his work was um was related to exhibitionism he was making some eschatological versions of himself you know and he was showing off he he's uh you know because there there were a lot of news and then this interpretation also was related um to one exhibition he made at the end of the 90s in the modern and the modern museum of art in mexico city that was called el gran cico del mundo and to enter this exhibition there was like a big installation like a big printing or illustration let's say of a mouth it was his mouth so it was a big like a big entrance so you were entering to his mouth and let's say in through his body so you see all these paintings and there were paintings like uh he was sitting in the toilet for example or he was taking a bath or something so when you are going to like exit the exhibition you were exiting through like another big installation it was like an illustration of his anus so you were entering to his mouth and through his body and exiting through his anus right so this exhibition exhibitionism you know interpretation exhibitionist uh it was related to this um exhibition right and uh and the modern mexican modern art museum so for me both there were like not enough uh or not lacking this uh political content that i think his work has like he's very strong so i entered to study his work and also i entered studying his life so i found for me two moments in his life that determine uh his work his artistic work okay the first one is his childhood he is from a very small town in mexico in the state of veracruz it's a very conservative town very small and very religious one okay so from that moment he grew up with his mom and his grandmother and this very you know environment of this conservative like a strong um environment so from that from that moment he retrieved some of the elements that we can still see in his work for example the mexican folklore we can see in this painting the mexican lotteria that is one that that i'm showing now i think i can put a little screen okay this one the lotteria and he retrieved these elements from from from that period all right and also the religious one this the virgin of guadalupe when he was a child he had a vision uh of the virgin of guadalupe and from that moment he was like very he's devoted to to the virgin okay so the second moment in his life is when he moved out of veracruz in in two mexico city uh he was uh he he he wanted to be a teacher so he moved to have this formal education as a professor he worked as a professor during 20 years actually and uh maybe at the end of the 60s he enrolled also in the school that that is called lesmeralda which is one of the most prestigious fine arts schools in mexico that is currently in the national center of arts in mexico city and in that moment in mexico what's happening a lot of a lot of things were happening in mexico but at that time let's say the 70s or something what's happening the rupture the rupture let's see the rupture is an artistic movement that uh was coming from the 50s and got uh got stronger uh through time and in the 70s was like really strong in mexico it was like strong influence and strong tendency in mexico so um the rupture it's called like that because it's a breaking moment away it's a breaking away moment sorry from the escuela mexicana so you know la escuela mexicana is what we know as the muralist and that was formed by ribera cicados and orosco and other other painters painters and this escuela mexicana was full of political propaganda was born after the revolution in the 1930s and 1940s and it was uh let's say it was part of a like a big plan from the state from the government to create after the revolution uh this new mexican modern modern mexican identity you know it was like reveal this identity and they the plan was to create this new new new one modern modern identity and the escuela mexicana was part it was like uh they were in charge to give this um to illustrate this new mexican to give this uh representation of this mexican new mexicanity we'll say so the rupture was breaking away with this political propaganda and they were looking into what was happening in europe and the us so what was happening in europe and the us was the avant-garde the avant-garde were related to performance and music and stuff but abstractionism was very strong also so um in mexico there was a big influence from abstractionism and also the maestro uh at first experimented with that he explored this um let's say this tendency but at the end uh he decided that it was not like it was not uh this abstractionism was not giving him the enough elements to express what he wanted to express uh so he went back to figurative painting and from that moment let's say during the 70s late 70s he started to paint what we see now so he has uh like many years painting like this um few decades now doing this self narrative constructing this self narrative through this time actually one of the biggest critiques that he received is that he's he was not changing you know the topic or even exploring another technique you know because if you see um for example he has this sepia colored paper that for me it reminds me like these old textbooks from when i was in primary school or high school this this text was from the state so it has this feeling of nostalgia for example so uh he was not changing techniques he was not exploring another topics so it was the biggest critique um like he was lacking some creativity for example um but no for me it was like he is really committed he's sticking to his self narrative and it's like very solid and very political okay so from the late 70s he's painting like this he's painting you know he's sticking to this self representation narrative okay so after this after the rupture after the 70s in Mexico during the 90s because he he the maestro got more more recognition in the art circles during the 90s he won several prizes in Mexico so during the 90s um he got more recognition but the 90s in Mexico were like there was a big social struggle and we we still had in mind this this picture for example it was the student movement in the 1968 it was a massacre if you know it and we still have this in in our memory right also the lesbian and lesbian and gay and gay right movements were getting stronger and they started in the 70s also during the 90s were more visible and also during the 90s in the middle of the 90s um the government decided to go full in this neoliberalism right so change to to bet entirely to this new let's say proposal it is not new proposal but okay we entered to this new era let's say of neoliberalism so they the the president signed this pre-trade treatment and that the treaty and at the same time uh the you know the EZLN the greea in Chiapas uh started you know so this um this entering to the to the treaty to the neoliberalism was demonstrated this um both both side of Mexican of Mexico of sorry of Mexico you know in the one side we wanted to be modern we wanted to go into you know globalization to go you know into these new markets of the global north let's say and in the other side we we had a lot of inequality social poverty and a lot of social issues so it was like a very strong moment in Mexico during the 90s and all the artists especially the maestro I think the maestro got into this discourse like arguing also discussing or questioning this um let's say modern values okay so these modern values came after the revolution you know like I told you after the revolution the government started started with like a big discourse like a veterinarian dream you know from culture education politics and everything you know was around this discourse and so the new identity the modern Mexican came from this period so the maestro is not responding to this period itself but is he is questioning the identity that came with these values okay so after the revolution the same party governed Mexico during 70 years until the until the end of the century actually so um the the the feeling the social feeling that that the society the community was showing non-confirmity with these values also you know with these demonstrations and everything that we had in our memory and also the maestro getting to that he was questioning his uh this identity from his side of course and he started to paint this this and he started to like responding to this and to this Mexican identity okay so um in his work we can see a lot of Mexican symbols like the flag we constantly constantly put the flag the flag the Mexican flag in these paintings for example this one I think it's very strong this is this painting is not in the in the catalogue of the online online exhibition but I think it's a very strong story because it's uh usually he I mean he always paint like sepia colored you know paintings but this one I think I struck this one I extracted this one from my my phd dissertation so it's like uh black and white but I think it's very strong uh the name is uh like um I am Mexican too and with this one I think he's uh questioning this kind of uh this this identity on how to be a man you know what what were the values that you know determine this gender identity okay so we can see like a lot of examples of these uh response for example in the in the left we have the prisionero so he's sitting down in this chair like it seems to be a colonial wooden chair and he sat up with this Mexican ribbon so he's like naked he cannot move he's vulnerable so I think it's clear the message is clear and also in this one like uh soy puro mexicano he's showing these wounds that that that that came with this uh you know identity modern identity that is deeply discriminatory okay so he was questioning this sorry so he was questioning this for example this painting I love this painting it's called oh santa bandera it's a triptych sorry if I put only two uh in the middle one it's just a flagpole so this one uh this painting was actually removed from the from one exhibition in the museo del chopo which is a university museum from the unam it was removed removed it was censored from the from the exhibition which was a gay gay gay gay and lesbian festival so it was a demonstration from the community and they put back in this painting so this is a strong painting um it's one of the paintings that for me inspired my my phd dissertation that I think is very strong and very political okay so he was questioning this uh modern identity on how to be a man what what what were the features of the or or the characteristics um that were described in describing the mexican man all right so uh this is the fun theoretical part uh to explain this and my argument in my phd dissertation I used the the theory of performativity that I think you you are very familiar with in san francisco this it was exposed by judy potler and says that a gender is performance right it's a performance since we embody the cultural definitions of gender okay so they are cultural because they belong to a specific culture they are definitions because they are rooted into language and language to find everything all right to find everything in the short in the social and subjective reality so we embody these cultural definitions of gender and we also speak you know define or determine through language these also these cultural definitions okay so sexual identity is um it's a construction it's a process so it's um let's say a historical process because it's constructed through time through time so uh if we think uh it's a process let's think that these cultural definitions are like citations or are like pins so every time we embody certain cultural definitions we cite or we quote or we pin to a gender norm so there are hundreds hundreds of definitions of gender so um and sexual identity is constructed through their reiteration or through their repetition of these um cultural cultural definitions of gender right so it is through these repetitions and that sexual identity is constructed okay so the logic the inner logic of this process is the relationship of these three terms sex gender and desire desire meaning the sexual orientation right so sex let's say the master was questioning this um modern identity right so this modern identity was defined like this sex as a male gender as masculine desire as a heterosexual or straight as you want so this one was the gender norm in Mexico so if you live outside of you don't assume or you don't appropriate properly or fully or entirely this gender norm you live in the margins you live your outcasts from the social acknowledgement so uh this is like for me it's um deeply deeply discriminatory right so uh in my work I also think that the master was going beyond and uh there was a deep relationship between sexual identity and the national identity so to this formula to this equation I I add up this cultural belonging so let's say the master was questioning how to be a man or how to be recognized as a man but I think he was questioning this um how to be a Mexican man or how to be uh how to be recognizable as a Mexican man okay so the formula was the following sex as a male gender as a masculine desire as a heterosexual and the cultural belonging as a macho so you have to be male masculine heterosexual and macho to be recognized as a sexual as a Mexican man so as you can see this is like a very conservative hard monolithic statement gender norm also gender norm so I think the maestro was using the same mechanism of uh performativity he was performing also his um new identity so he in every painting he was like doing this uh quotation or citation of himself so let's think in like you know these many years of painting or or with the self-portraits so he is like uh quoting himself again and again and again in every painting so he is like constructing his identity he is like uh you know getting this um saying that his existence is uh also valid it's legit so he was constructing this true performativity also you know he was responding you know to this formula breaking it you know questioning this and saying that he was also Mexican doing this uh over the years with this reiteration of himself so for me this was this this is a very strong political discourse doing this um and sticking to this committing to this with these years okay so we can see in all of his paintings he's uh he's uh doing this taking talking about his life uh retain some elements from his childhood and everything that is uh you know his living living experience so uh please if I I explain or if I went too simplistic with my explanation of performativity of course please read more about any any book of Jodi Potler is good it's perfectly is excellent but of course I suggest you to start with gender trouble and any book of course of Paul Preciado it's also like amazing if okay I I suggested to start with the Manifesto Contra Sexual it's very strong I'm very political and it's amazing okay so after my PhD I I changed just a little bit my line of research and I went uh into what is called the the colonial turn or the coloniality so uh the the colonial turn it's um part of what is called the critical Latin American thought it is not new it's coming from the 90s also and it is based on the term of coloniality coloniality it was exposed by Anibal Quijano and he defined this term as a pattern of power okay so to understand this in a better way we have to first differentiate colonial coloniality from colonization colonization is the is the act of occupation okay it's the occupation of the territory by military force controlling all the resources the people of course the economy and the politics okay so that what was happening when the Spaniards came to America to the you know American continent and coloniality it is the pattern that emerged from colonization from that point until now so we are still living in a condition of coloniality we have we have our independence you know back in the 1810 but we are still living in a condition of coloniality okay so coloniality is deeply related to the concept of modernity so we often relate modernity you know to the enlightenment in Europe in the 18th century but the colonial scholars said that modernity came during the the colonization this is for me it's like it's very curious because they say that when the Spaniards came they opened like new routes of navigation new ways of trading so somehow they like unite this the old continent and they started what is now called you know this world system of capitalism so modernity started with that during the colonization in the 1492 okay so it's deeply related to this coloniality why because with modernity came a kind of or sort of rationality this rationality said that the modern rationality express or yes express like you know the the they were rescuing the native people from the primitive state like taking away from the from the primitive state into civilization the western civilization western european civilization so we were living behind this you know knowledge traditional knowledge that we had before the knowledge from the land our dialect our you know everything that we had back then to you know to go into this modern world to go to to be more civilized or to be civilized at all okay so the modernity started there there and it is related to coloniality now this modernity as there's an example that is often used by the the colonial scholars that says that when we are in school we first learn about the universal history that is no other than the european history okay so the this european history is told like it's the you know the universal almost the history of humanity okay so it is it is a meta narrative it is like a huge construction or huge fiction that we had to assume when we were doing the the the colonial period and still so after we learned about the mexican history as a secondary topic so we are not nor we are not part of this um universal history and we if we are named in this universal history we are named as the other or as the subaltern as the third world you know download the hierarchy the social hierarchy in in the world and if we want to be part of this modern world we have to assume these visions of ourselves you know we have to assume this identity and to leave behind all this past to leave behind all these and just you know understand that that the the best knowledge is the european scientific knowledge or now that you know the the u.s european scientific knowledge so we leave behind everything that we have that we had in the past okay so uh in the the colonial term we have a methodological tool that is called the situated knowledge so imagine this meta narrative that's supposed to tell the history of humanity and also guides you know these um progress of development of humanity also like uh if if it was like a linear progress so it also tells you your aspirations uh where do you have to go um if you want to be you know part of the global north or the first world or anything as you want to i mean as you want to define it so the situated knowledge so this meta narrative is like beyond somewhere that is not rooted in anyone or in anywhere the situated knowledge means to find yourself to locate yourself in your day-to-day uh living experience in your traditions in your heritage in your and in your dialect for example in your personal history to find yourself and just construct yourself from this and also if you want to be like to have a political stand you have to create new knowledge knowledge that you have you know from that that comes from you and not and not from this meta narrative that is a way that is uh in a metaphysical space you have to find you you have to locate yourself and create your own knowledge rescue and recover your your knowledge from the past also so i think the maestro is doing this also we can see here in this painting also it's a story this black and white please uh if you want to i i i wanted to show the original painting you know with the color and everything but okay this this uh i think it's important this uh this painting uh this is uh the indio y española mestizo uh we can see this representation of this meta narrative i'm telling you in the in the right side we we see you know the spanish the spanish woman and in the right side we see and let's say um ethnic or indigenous men okay so uh we can see you know the sophistication modernity and wealthy from the european side and then the other side we see you know the the primitive you know masculinity rough character uh that is here in the this uh you know mexican man so we are here we are you know the the child we are not entirely in our adulthood let's say we are not yes we are not part of these big meta narratives we are you know the subalters still so uh i think the maestro is doing this he's locating himself from this situated knowledge he's finding from his uh own past he's retrieving his uh mother his grandmother his uh the father figure his dialect also because he's handwriting uh he's recovering all all of these things from his childhood so he's constructing this also through time through his paintings through through his artistic career he's the colonizing himself and the colonizing also the visual arts okay just by doing this situating himself away from this meta narrative okay so i think it's very important and also very political at this time of globalization okay so uh in the talk i gave in december i promised someone asked me about this painting this painting is not from the maestro is uh it's a painting from Fabian Chaitis and the question was i promised to answer this because at that at that moment in december uh the name is lit on mine i'm sorry but now i think it's a very relevant question also to this what i'm telling you about okay so this is the painting from Fabian Chaitis uh that is called the revolution he he was um he was in an exhibition during the 2020 in the palacio de bellas artis in Mexico City and he was very controversial controversial um we can see um this iconic figure of zapata you know it's a figure of masculinity of rough character revolution you know this uh you know a stereotype of of a man in Mexico so we can see now it's a i know it's a satirical version of zapata and and i think it's raising many questions about masculinity uh the main question for me is that what will happen if we put some you know macho icon in the in the position of representation that often women are you know objectified sexualized uh in a position that you know this uh we can see in advertising or even in museums in art that often uh women are naked objectified and everything so for me it was like what if we put this you know macho icon in this the same the same discourse um so for me this is the main question and i think it's a very important one now it's very controversial but also for me it's uh let's say that he's using the same cultural definitions of or the same elements uh to put this satirical figure so he's using these elements of uh womanhood let's say into a man only so he's not like he's not um going beyond this binary system gender system he's just using these same same elements or stereotypes or elements to stereotyping um women into a man so in a sense he's also reinforcing um this binary system for me in the in in the other hand for me the the narrative of the maestro because the question that someone asked me last time was if it if it was appropriate to uh to find some similarities or some you know some differences between the maestro and this worker that i show you and okay the similar the similarities are that um they both are questioning this um identity but they there are some major differences i think the maestro has a very solid narrative very powerful and very political one that is um attached to this set of representation and he's um as i told you he's constructing this identity his own identity his own personal history to painting and he's also decolonizing this uh new wave of mexican contemporary art just by by finding himself in painting by using his own personal history okay so i think is uh one of the greatest artists of the 20th century in mexico for example so i admire him very much and if you want to know more about the colonial turn please um read um Walter Miollo and catering wash these books here both are like an anthologies uh but you can find many many and different articles and scientific papers and the right we have this anthology like both books are like really good of course i i suggest you to also read The Colonial Feminism for example Aura Cumes or Ochi Kuriel that um they explain very very well the situary knowledge and they were you they are using it as you know to to to create new knowledge for example Aura Cumes she's a researcher and she's also she's also Mayan from the from the Guatemala and this border with Mexico and Guatemala so she's using this you know ancient knowledge to construct herself and also you you know doing research so this is very interesting and to finish my presentation i will read um fragment from because the maestro is also writing poetry and also it's it's just a fragment okay so i would read it in Spanish in the regional language but you can follow my reading in the blue one that is the translation i it is my own translation okay so please um have that in mind so i will read it it's um the title is Renacer and says el inocente no cede a la insistencia de las burlas piedras que lanzan los culpables se consuelen el jardín natural poema que pervive como madre que alienta su voluntad de vuelo prepara el causa de sus ímpetos guarda en su memoria la casa la huerta el jardín la seiba las veredas el arroyo su justo deseo de salvación nutre sus cimientos condición necesaria del que crea siente como si el índice supremo le impusiera la marca del elegido y enchido de gracia se transfigura sin traicionarse en un suntuoso personaje decimista so i think this poem represents also you know the feeling of the of his entire work his uh i think he's um recalling some of his past and he is telling how how he became an artist so i think that's it from my part um if you have any questions please any comments i'm ready there are some questions sofia i'm gonna yeah there a mix of um youtube chat and questions so i'm gonna try and kind of just um and thank you that was so informative and that poem was beautiful it also brought up a lot of things that you can get a lot of these resources at the library i'm so glad you mentioned all those books i added them to the doc and we actually had judith butler do a talk i also put um that link into the um chat box yes it was mind blowing and like one of the heroes of my life that i got to check off my my list of being able to promote so she they are amazing judith butler just you know huge in in the field of gender study so let's see um do you think that um nahum felt denied his identity by the nature of the mexican culture government and way of life denied his identity yeah definitely if we just in the question we see this by nature of mexican culture yes yes definitely if we think this that is something like a sensualist version of the identity the mexican identity yes he was denied and he also told once that he when he moved to mexico city he found some kind of relief because you know in between 22 million people you are like almost invisible so he felt relief so i think he was he felt denied so he is very like you know with a lot of courage to tell his own history through these paintings uh which i don't find exhibitionist at all he's just telling this um constructing this which is part of life you know yeah this kind of news and different representations of ourselves so i think yes definitely he felt denied and that same person just made a comment that there's you know so many identities to have to try to be you know and the freedoms that we get here in like a different culture where well even a bubble like the bay area you know you just step out of the bay area you're not free to be your own identity but to be able to to have these identities that you have to try to be and to perform to but to be able to find your own and as as he did through art is pretty amazing um so this person says they've seen more queer and latino art coming out and being embraced but most of it still by male artists um very little by women being embraced do you find this to be true and do you see any kind of change happening on that front okay so i think now there's a strong moment uh for feminist art also we have a tradition of feminist art in mexico that what's coming from the 80 from the 70s also um and it's getting stronger so i think yes it's uh the the the art done by women is it's getting stronger it's getting gaining more visibility um we have for example we have a lot of uh women directors film directors a lot of um that that they are getting more recognition a lot of visual artists so uh yes we need more more support yes we need more spaces we need more independent and alternative spaces to show our work but yes we are gaining more visibility and i think the feminist movement it's getting stronger and stronger every day so yes and is um is art supported sort of in the same way as it is here in america like uh is there grants and foundations and um you know how are these artists being funded uh yes there are many grants from the government not not that not that many to tell you the truth um but yes and also you know there are we need to create our own resources be you know self manage and to find our own you know uh the spaces and we need to find our own sponsors to do our work and it's kind of difficult being you know a woman and being an artist that are you know both together are more difficult but yes we can we need to find these spaces to create a part from you know the government grants and scheme or plan we need to find our independent spaces to express you know apart from this uh institutional discourse our own speech so i think we are doing so we are creating more spaces and we need to find the grants also and sponsors but we are doing it yeah that's that's very interesting i um think during uh shelter in place in the covid situation especially in the bay area has really brought about that like community for community spirit and art for you know art for the people kind of way of life again and i really it's just been a wonderful silver lining of pandemic life but um yeah i think it just realized how important arts are to our our life and our sustainability um so fia thank you so much that was such a rich talk and like i said it opened up a lot of other uh resources that you can find at our library and i'm going to put this in the chat box one more time you can also watch this again on youtube and check out all of those books that so fia talked about yeah and resources you know we got a ton of Judith Butler of course but also a lot of latinx art all sorts of amazing stuff so so fia thank you the mexican thank you thank you so much and um we appreciate you being here and library community we'll see you again thank you thank you thank you everyone bye bye


Imagine living in a society where children as young as 10 are injected with heavy-duty hormones that stop their natural bodily development, that stops the development of their genitals, their body hair or their breasts. Now imagine living in a society where children are encouraged to believe that they live in the wrong body and therefore are in need of these hormones. That encouragement comes at school and is paid for by the state. Now imagine that the clinic that administers this hormone to children, some as young as 10 years old, is accused of covering up the negative effects, including increased self-harm among the children involved. Well, you don't have to imagine it because that's exactly where we are. In 2017 it was reported that more than 800 children in the UK, some as young as 10, 230 of those 800 are under the age of 14, some as young as 10, are being administered with this hormone by the NHS. And the drug company responsible for this is giving money to the Liberal Democrats. So imagine again, imagine that a political party is encouraging self-ID, as the Liberal Democrats do, encouraging greater need or greater use of a hormone delivered by a company that gives the Lib Dems money. So Lib Dems encourage it, more people take the hormone, makes more money for the drug company, more money to give to the Lib Dems and round and round we go. Because the Lib Dems are all over this self-ID stuff. And Jo Swinson, the dreadful, dreadful leader of the Lib Dems, even admits she doesn't understand all this. She says, no, it's not about science, she said. Imagine that. So this is where we are. And just how immoral does it get? When your politicians are happy to spread and encourage destructive, dangerous, delusional madness among children who then decide to take hormones administered by the state who gives money to a drug company, who then gives money to the Lib Dems. This is shocking and scandalous. And it makes you wonder, or at least makes me wonder, just who and what we are governed by. This is experimentation on children, the destruction of the normal development of children, the absolute exploitation of children who overwhelmingly suffer with self-esteem and identity problems. This is a natural part of growing up. But these big drug companies, and this trans thing, let me tell you, someone somewhere is getting very rich from this, and now we have an idea who. But these drug companies are relishing this, grabbing these children. And then you have the trans activists who are grabbing these children as well. All of them exploiting them and either making political capital in the case of trans activists or making money in the case of drugs companies. The Liberal Democrats don't care about all that because they're getting money for it, which they can then use to promote more of the same. You have to wonder who governs us. What exactly is sitting in our parliament? Because if you can, in any kind of good conscience, inflict this misery upon children, then you should be in jail, much less running the country. A scandal, and Labour are no better. Labour want all this self-id stuff too.  And the results? Well, the negative ones. Let's cover those up. Doctors object? Let's get rid of them. This is scandalous. For Britain, we'll stand up to it. Read our manifesto. We have a real plan to stop this trans madness in its tracks and to stop this exploitative abuse of children. It is disgraceful and it is profoundly immoral.


Item number SCP-142. Object Class. Safe. Special Containment Procedures. SCP-142 is to be kept locked in an accessible room with the following. One table with surface area no smaller than 75 cm x 75 cm. One stool of adjustable height. One wall clock. Electric. To be kept visible and running at all times when SCP-142 is in use. Access to SCP-142 is permitted only with express written consent of Dr. W... or other Level 4 personnel. Staff assigned to SCP-142 must not have any personal or family history of compulsive gambling nor gambling addiction. Staff assigned to SCP-142 are not to make any physical contact with the device under any circumstances. Description. SCP-142 closely resembles a 1940s Black Beauty slot machine as produced by the Mill Corporation during that era. They only observed irregularity in the external construction of SCP-142 is found in the coin slot of the device which has been modified to accept any item that will fit in a cylindrical space 5 cm in length and 2.45 cm in diameter. When any object of appropriate size, hereafter referred to as the bet, is dropped into the input chute of SCP-142, the device may be operated as his customary for a slot machine of this model. Should the tumblers come to rest in a losing configuration, the bet is lost and cannot be recovered. However, in the event that the tumblers come to rest in a winning configuration, between 2 and 200 indistinguishably identical copies of the bet are dispensed from the output chute of the machine. In the event that the bet consists of multiple objects, the output of the device, if any, consists of a random assortment of duplicates of the wagered items. Test data reveals the median payout from winning configurations to be 10 items regardless of the number of items inserted. Human subjects allowed to interact with SCP-142 are affected by the object in three unique stages. Stage one begins immediately upon direct or indirect physical contact with the lever of the device. Subjects demonstrate mild giddiness and demonstrate a greatly diminished sense of the passage of time. If the subject has not exhausted the supply of betting material after 28 to 34 minutes of play, he or she will gradually enter the next stage. Subjects at stage two appear compelled to bet larger and larger quantities of provided betting items, 5 to 20% of remaining material, until supplies are exhausted. Subjects also express the delusion that they are winning more frequently as a result of their altered betting strategy. In spite of this belief, the frequency of payout seems to be somewhat reduced at this stage. Stage three begins once all of the subject's betting material is lost, typically 10 to 12 minutes following the onset of stage two if no additional betting material is provided to the subject by a third party. Subjects at this stage express a strong aversion to SCP-142 and will not continue to operate the device unless compelled with physical force. Subjects also express a moderate aversion to any action which would cause an object to pass through a hole and express a strong irrational fear that they will waste or lose something should they engage in the offending activities. Specific examples vary by subject but include passing through doorways, placing objects into cabinets, bags, or any other storage medium, use of sinks, showers, or other plumbing fixtures with drains, removing and or putting on clothing, sexual intercourse, and, most commonly, eating. Roughly 62% of subjects that reach stage three will expire due to starvation or malnutrition unless actively compelled to eat or provided nutrients through other means. Any subject restrained or otherwise removed from interaction with SCP-142 during stage one will recover in full within one hour. However, stage two subjects separated from the device will enter stage three and the effects of stage three have proven permanent in all cases. Subjects in stage three should be terminated at the conclusion of each experiment. SCP-142 was recovered from an abandoned antique dealership in Ohio, following an anonymous tip. Records from that area indicate that the shop owner died of starvation, roughly five years prior to retrieval of the device. Addendum 142-1 In the course of an approved experiment, SCP-142 was temporarily disassembled and each piece catalogued. The construction of SCP-142 proved unsurprising for a slot machine of this Macon model, with two exceptions. Component 142-0046, the lever of the device, was found to contain several unexpected alloys, including data expunged. Contact with the lever has no effect when it is not connected to the rest of the apparatus. Additionally, as mentioned previously, the coin slot of the device is extensively modified to accept objects larger than coins. The most notable element of the custom shoot is component 142-0524, a small chamber composed of thin pewter plates. 142-0524 appears to serve as both the holding mechanism for bedding material and the dispenser for payouts. The means of interaction between this component and the rest of SCP-142 is unclear. However, due to the highly fragile construction of component 142-0524 and its presumed relationship to the device's duplication properties, further examination is prohibited without O5 consent. Addendum 142-2 With the permission of O5 personnel may now submit appropriate materials to be used with SCP-142 for potential multiplication. Requests should be submitted in writing to Dr. Lesson complete. If you missed the previous orientation, go watch SCP-141 Codex Damnatio right now. Or for the complete course, watch this playlist.