think Tolkien was a brilliant reviser and that he'll write something and then he'll think about it and he'll say that would be so much better if Elrond had a daughter and he'll go back and add a daughter whereas most people said well next time I write a story about someone who has a daughter he'll work over a piece as many times as it as long as he keeps getting good ideas that he thinks will improve it he'll go back and revise it again he'll go back and revise it again. C.S. Lewis once said it was almost impossible to get Tolkien to publish something because he would say oh I just need to go through and make a few changes which usually meant he was going to start rewriting it over again. If you look at Tolkien's original drafts they're often not nearly as good as the final book. Farmer Jaws of Ham is a great example. Nice short simple little story followed by an expanded version which is better followed by a version twice the size which is really good followed by another version Tinker just a little which just right that point he stops he gets it published. Aneudotally what was what was the condition of the manuscripts when I arrived how did they change what condition are they in now when they arrived they were Tolkien had promised as part of the deal he would go through all the manuscripts and annotate them date them explain how all of them were related to each other this is why it took two years for Marquette to get the materials after the point when they started it because he went and he started and oh he got an idea and he had to work on something else there's one page that I'm certain that Tolkien actually annotated because there's a page of manuscript on the top of which Tolkien wrote only surviving page of the first draft of the Hobbit which didn't go beyond this first chapter what he didn't know is two other pages of it had come to Marquette and that page he didn't send to Marquette the page you wrote that on he kept he never got around to sending that it finally came when Christopher Tolkien hand-delivered it in 1987 the oddest thing that I've ever come across is a doodle of a little circle with two eyes and underneath Elrond the magnificent a lot Tolkien was writing during World War two when paper was really scarce and Tolkien wasn't like C.S. Lewis he didn't think through the whole draft and then just copy it on paper you know he found out what he had to say by writing it and rewriting it and this took lots and lots of paper one thing Christopher Tolkien discovered when he was here in 87 we would never have guessed there's lots of pages that are on the back of blue books you know students wrote essays if there was half a page Tolkien would tear that page out and he would write on the other half a page what Christopher Tolkien discovered he looked at some of those they have comments where you know Tolkien is saying this person knows nothing about the Battle of Maldon or you know the tense is completely wrong in this translation etc Christopher Tolkien looked at them and said oh that's not my father's handwriting that great that little comment is by Neville Coghill that little comment is by C.S. Lewis so he was not only tearing scraps of paper out of his own students he was getting friends just to give him pieces of and I would never have known that except you know Christopher Tolkien went and looked at the collection he loved the person oh that's you know that's Neville Coghill I don't think any of us would have noticed those little remarks in the margin as being anything other than the original student of Tolkien himself the doodles are the other really interesting doodles is sometimes he would practice calligraphy with the radio on and so there's these little snips you know like Dung Kirk and then you know lines in Elvish and he's hearing phrases and writing it is very very careful calligraphy and those are kind of random and kind of interesting and what so wise while he makes this little insulting comment about Joyce or Elliot or someone like that that it would be a great project just to go through the whole thing and report just catalog what's on the back and most of it's like yes this student didn't know nothing about Beowulf but sometimes there's an interesting little comment an interesting little phrase that would it be worth the trouble of digging them all out I mentioned earlier today about Tolkien sat down at one point and decided to rewrite the Hobbit in the style of the Lord of the Rings this is what's called the 1960 Hobbit none of us knew it existed until Christopher Tolkien came to Marquette in 1987 and decided he would read part of it to us wonderful reading what happened is Tolkien writes the Hobbit it's a standalone book there is no Lord of the Rings at this point it's successful his publishers say why don't you write a series you know like Dr. Doolittle there's the first book second third book why don't you do a whole series of books and talk to the brothers really not much of a sequel to he lived happily ever after to the end of his days short book maybe I can tell a story about another Hobbit and so he starts in on the new Hobbit and that becomes the Lord of the Rings the Lord of the Rings turns out not to be very like the Hobbit once he gets going on it becomes much longer much more grim much more intricate really fascinating book he gets to the end of the Lord of the Rings and it's like it's kind of hard to make the Hobbit story work with the Lord of the Rings because in the Hobbit the original version of the Hobbit Gollum makes a deal with Bilbo you know if I win I eat you if you win I'll give you a special prize Bilbo wins Gollum says now I've got to give you the prize but he can't find the ring so he says I don't know what to do you've won fair and square and I can't give you the reward Bilbo says well show me the way out will be square so Gollum goes and shows Bilbo the way out and they basically it you know they parties they know down that way look out for the goblins and they leave that's the story of the original Hobbit that's what was published in 1937 as Tolkien's right the Lord of the Rings is this just Gollum is just not going to let him walk out of there so he wrote a brand new version of the of that chapter in which Gollum is treacherous and evil and he tries to kill Bilbo he tries to ambush him and he sent it to his publishers and said if we do another edition of the Hobbit if we publish this chapter it would make the Lord of the Rings a lot easier and the Hobbit Lord of the Rings are both better off so the Lord of the Rings influences the Hobbit after the Lord of the Rings comes out about 1960 not long after while he's still working out actually Tolkien starts saying you know the story would have been very different if Gandalf had been describing the opening chapter of the Lord of the Hobbit or Thorin had been describing the opening chapter so he sits down in the appendix you'll remember in appendix A of the Lord of the Rings there's a little passage where it talks about after Aragorn was crowned they told a lot of stories and Gandalf told them a lot of stories well Tolkien wrote down the account of what Gandalf thought the first chapter of the Hobbit was like from his point of view that's called the quest of Erebor it's published in unfinished tales and it's wonderful about 1960 Tolkien started thinking I should rewrite the Hobbit I should make the Hobbit just like the Lord of the Rings the two books will go together so he sits down and starts rewriting the opening chapter so it will be just like the Lord of the Rings he writes the opening chapter the second chapter gets as far as the arrival at Rivendell he shows it to someone who says this is great but that's not the Hobbit and so he thinks about he says you're right the Hobbit is different from Lord of the Rings it's not it shouldn't be co-opted into the Lord of the Rings so he abandons it the 1960 Hobbit was published for the first time in my book I was really lucky to get that in there it also has both versions of the Golem chapter it doesn't have the quest of Erebor but that's readily available in unfinished tales and the new edition of Douglas Anderson's The Annotated Hobbit the second edition also includes a different draft of the quest of Erebor there are at least three it being Tolkien there's multiple drafts of everything so that's what the 1960 Hobbit is it's when Tolkien decides the Hobbit should become just like the Lord of the Rings and he says no too many other things to do going to leave the Hobbit on its own I arrived the first thing I did was transcribe all of Mr. Bliss because Mr. Bliss was unpublished there was no way to read Mr. Bliss other than to come to Milwaukee and go to the archives and read it so I transcribed it so I know Mr. Bliss pretty well I looked at the early version of Farmer Jaws I transcribed some of that I had this ambition I took a copy paperback copy of the Lord of the Rings I looked at the manuscripts I started entering every change in it so that I would have like a very orium and I had to give it up there's the manuscripts are so different that was even before the material that Christopher Tolkien brought which was a very early drafts of the first chapters so I looked at the material there's probably still pages there I never got to because I wasn't systematic I didn't start with the first page of folder one and go all the way through I would research a part then I would research a different part hundreds of hours I don't know whenever I could get away from I was teaching I was taking courses I was really busy TAs are really really busy grad students are really busy but anytime I had time I'd go over there and spend an hour spend two hours there couldn't have been many weeks that I didn't go and spend a few hours there and it was wonderful thank you so much for coming


They have to have some sense of what the historical reference are, so if they see this as railroad stock, they would have to investigate something about railroad stock and feelings about the railroad in the 1870s. They have to discover some sense of the historical context, but I'd also want to know something about Nass, particularly because he's such a, there's so much stuff by Nass that he has such a strong influence. He's a very powerful artist. I would want them to investigate how else Nass depicted babies, how else he depicted money, how he depicted business and finance in general. I'd want them to have some sense of the author and the author's characteristic forms of his rhetorical tricks, the author's characteristic rhetorical style and how does this deviate from his characteristic style. I would ask them to look for other iterations of that phrase, you know, where else does rag baby show up and how are they, who else uses it. But one thing I'd ask them to do is look at how else Nass drew babies. I mean, what else did Nass do with babies and how else did they appear in his work? Did he sentimentalize them as the exact opposite of this? Or how are babies depicted in popular culture generally? And I think the answer usually is they're highly sentimentalized as the, you know, they're the objects around which real feeling is generated and the objects that represent genuineness. So I'd ask them to contextualize it. What is the context of babyhood?


Going on everyone Sam here with late in sports cards ripping 23 pretty gold standard football hobby 12 box full case break number nine random team style look again at your random results As always you can find those on the website over the Or under the results tab as well as a link in chat. So good luck everybody Let's do it. It's an Audi W Steelers Steelers Delete this case of gold standard everybody here we go They got a lot of vets in this rookies. There's a couple guys. You're looking for but the vets really are the big ones I would say Danny Dimes to 75 and to 99 Tyler Scott rookie Force McCann those are fire Monterey Stevenson to 299 for the Patriots one of well, I have a I have a I have like The one civic below the type R. I want to get a type R next that is to two No, 399 will Anderson jr. Or just say screw it and go up to a Supra That's on that got a Brock Purdy to 199 Nice one there for the Niners Really nice one here double standard is to 49 mark dooper and mark Clayton nice one there for the Fins That's on that Greg Super duper super duper is right Stuff Greg on the dual and then Chase Brown rookie Jersey out at 199 going to the bangles Yeah, I I do want a Supra, but I do love the type Rs, man All black toy a forerunner that's dope for runners are nice I looked at I looked at for runners looked at for runners in Tacoma's For but dude Tacoma's are so expensive like for the base It's like 40k for nothing and then nothing in it. I don't know for Tacoma in high school is about 10 years old Oh, yeah, that's kind of hard to 99 is Clayton tune and three of five Kenny pick it Nice one there for for you there Brandon. Not bad Look good this year this week 224 Ramandre Stevenson First random of the break is gonna be CJ Stroud and Anthony Richardson to 199 That'll be a random between the Texans and the Colts Got Dak Prescott to 299 gold gear for the Cowboys Dallas Tyler Lacey rookie auto to 49 go to the Jags That's Jaguars 28,000 miles in 2018. It's not bad honestly And then Jaden Reed rookie Jersey on the triple to 149 for the Packers nice one Green Bay Gold state needs a 12-point win to advance so they're trying. He does golden state in state. Yeah 15 I'm at 12 point when Kings are selling Hey, Lacey came back to the NFL 299 Darnell Washington for the Steelers and to 30 Cortland Sutton Travis ETN junior to 299 nice one there Jags Javier Gibbs nice one there to 24 two-color patch for the Lions We've got Jonathan Taylor to 299 Jersey card And Alan Fannica to 24 for the Steelers. That's what I was talking about right there Brandon. Nice one there, buddy Probably like two months ago Kyle. Yeah, it sounds about right About two months sounds about right now Skymore to 49 and Josh Downs to 75 Dad looking cook to 299. Let's go into the Vikings. I think right. Yeah Vikings Got another Viking this time at Jordan Addison 9 of 10 newly minted two-color patch Congrats, Minnesota Great catch plays ankle on bold. Yeah Garrett Wilson to 299 Going to the Jets on the gold gear Jersey DJ more three of five nice one there for the Bears. That's actually pretty sweet. That's about Chicago low-numbered DJ more brand than each the other brand And Jaren Hall 9 of 49 two-colored RPI going to the Vikings Marta Mopu to 99 and to 30 Devontae Smith Aaron Donald gold gear to 99 for the Rams on the Jersey Okay, and Ravens John W. So it'll be a random as well this one right here. Ze flowers Jordan Addison the 199 That's on that ball or Baltimore or Minnesota Brock Purdy to 299 Niners gold gear Jersey car Miles Murphy rookie order to 199 for the Bengals Congrats since he and nice one here for the Colts Josh Downs to 199 have himself a good rookie here That's Indy on the Josh Downs Harry Wilson rookie to 99 for the Raiders and 205 CMC nice one Niners Saj H with that one Christian McCaffrey First white gold this time. It's Clial Herbert JSN and Quinton Johnson to 199 That'll be a random as well. But nice 19 of 24 to Sean Watson gold gear got Luke Shoenmaker 11 to 24 Two-color RPA and the 24 karat Come on Vaughn could be a lot worse and Jordan Addison 7 of 49 two-colored two-colored double RPA a nice one there Yeah, I see a golden take it through that fire Let's do it Sam. Why not? That's a lot going on there She'll be hovered to 14 and to 75 Brenton strange Christian Kirk nice one there to 299 For the Jags That's one here Bijan newly minted rookie Jersey to 399 Rats on that falcons Justin Fields to 299 Yeah, he wouldn't yeah, I think it's still man. Yeah Nice one here Greg. How about a Bob greasy two of ten 24 karat gold auto. That's sick, man You got a Sean Sean break. Yeah, this is a Sean break man Going to Greg nice one there Greg 24 karat Season ever trying to win Sean over. Yeah, that's super duper form and Luke Musgrave to 199 for the Packers Actually, no, that's not true because I did in fact give him a Mark duper gold standard auto because I had one and I just like obviously he would like it more and I still have one over So, well, yeah, you're I'm kind of yeah Most situations shots To 99 Kirk Cousins and to 30 Jordan Addison Jordan Addison Alec Pierce Jersey to 299 Got Cooper cup to 299 as well for the Rams Got redemption Kendra Miller rookie Jersey auto going to the Saints Now me I didn't mean we're talking about museum jackpot or the Saints Got collage a can see to 199 for the bucks rookie Rookie jumbo rookie Jersey auto to 149 is handed hook for that to Leonis No, no definitive today jackpot. Just museum. It was two half cases museum. Then a full case museum. No No definitive unfortunately Chris Olava to 75 for the Saints sort of oxen 10 bucks to 99 miles Murphy Yeah, we had a gunner Henderson RPA to 15 Really nice a Kunya patch to five Um, yeah, we had a Luca one-on-one auto out of ten bucks. I was pretty big out of the impeccable Get your spots for spots with forest tomorrow. There's the break schedule Got Nick bossa to 299 bossa That's on that 9s bossa bossa Aiden O'Connell newly minted to 399 For the Raiders Another thin hit is gonna be a two up to 299 to a tag of our little II Got a good as gold sky more six to 24 That's sick three colored patch auto for the Chiefs and then another Jordan Addison rookie Jersey auto to 149 Vikings are killing it right now man. That's Paul K Paul lot of those Most of doughnuts that's pretty cool like it right here's our case hit To 99 is Brian Robinson jr.  How about a gold dust to a 24 Bryce young? Congrats on that one Manny. That's awesome dude. That is so awesome case hit Bryce young Two of 24 get that into a mad congrats man T Higgins to 299 we've got Quintin Johnson Jackson Smith and jig buck to 199 So the way this will work is one of each of the teams will get We've this is literally the second one we've pulled So when we do the random for this card the top team will get the first one We pulled 89 of 199 and the second team will get 25 of 199. So that's just a standard is only in Chronicles for basketball Yeah, it's not a standalone so it hasn't been forever 18 of 24 Joe burrow since like 2012 or 2013 It's in chronicles. Yeah, I know they had it in 14. They had it in 15 I remember that in 15 because I remember cat RPA is and I think they might have discontinued it in 16 Good as gold eight in Hutchinson to 199 for the Lions and of course, how you know It's a case hit. There's an Anthony Richardson to one night 149 for the Colts. That's Indy This game is staying exactly where they need it 12 points It's going to for tat honestly keep staying at 12 and then he's gonna put the 15 Yeah They're gonna come back and they're gonna put it at 12 John matchy to 75 And tonight and I'm Bijan Nights one. Let's go dude. Hell. Yeah to 299 Isaiah Pacheco Got an 18 or down to that game. That's go Joshua Got a DK Metcalf to 299 for the Seahawks. That's see Al Without for two going to the third good Lord We've got redemption Kendra Miller again go to the Saints rookie Jersey on on that Saints We've got nice one here for the Giants Harry Carson golden oldies 34 or 49 grads Giants Gonna go to a shootout damn shootout And Dorian Thompson Robinson to 149 rookie Jersey out of the Browns Grats Cleveland last box. Good luck everybody Deandre Hopkins to 49 and To 75 Brian Branch Got Leviscus chanult junior to 299 for the Panthers. I think you add them with a bunch of spots tomorrow.  We've got go to the Chargers Quitton Johnson 125 149 grads on that Los Angeles Chargers All right a couple of randoms to do so we have the Zay flowers Jordan Addison the Stroud and Anthony Richardson And then two of literally the exact same cards the first team on the random will get the first one We pull the second team will get the second ones to make it more fair both teams will walk away with one of those cards Let's go Joshua Okay, kind of do these randoms really quick everybody start off with the Stroud and Anthony Richardson five times one One you could be two three four and five going to Colts Congrats Colts When shock me Scott Next up we are going to do the Zay flowers Jordan Addison between the Ravens and the Vikings 11 on that one two three four five six seven eight nine ten eleven Going to Vikings Vikings really killed it then all right and then again We have two of the exact same card the JSN and Quinton Johnson duel So we'll roll the dice after seven times the top team will get The one numbered 89 of 199 the second team will get 25 One two three four five six and seven, so it'll be the Chargers will get the First one then the Seahawks will get the second one. All right, let's do a quick recap here everybody pretty solid case overall So in your jerseys, we've got LaVisca chanult Jameer Gibbs Cooper cup DK Metcalf Isaiah Pacheco Joe burrow T Higgins Tua Aiden O'Connell Nick Bosa Cooper cup Alec Pierce Justin Fields Christian Kirk Veejon Dishon Watson Khalil Herbert rock Purdy Garrett Wilson Dalvin Cook and Aaron Donald Jordan Addison Mere Gibbs Jonathan Taylor Travis ETN that press Scott Rondrie Stevenson rock Purdy Will Anderson and Ramon Andre Stevenson Onto your autos you had a Quentin Johnson Tray Tucker Dorian Thompson Robinson Harry Carson Kendra Miller Anthony Richardson Aiden Hutchinson Jordan Addison sky more Kendra Miller Clodger Kansy Henden Hooker Bob greasy Luke Musgrave Jordan Addison Luke Schoonmaker I was Murphy Josh Downs Jaren Hall DJ more Alan Fannica Jaden Reed Tyler Lacey Chase Brown duel of Mark Dupre and Mark Clayton And then Bryce young gold dust or gold. Yeah, gold dust the 24 Do it for the break everybody. Thanks again for the filth ten bucks Tuesday up


All right, let's do Aristotle. So as you know, Aristotle is Greek philosopher, probably the greatest philosopher ever in all of human history. And there is, I think today, today is the 21st, July 21st, 2020, in the Wall Street, in the New York Times, there is an op-ed by a philosophy professor, Mrs., Miss, no, Agnes Calotte, Agnes Calotte. She's a philosophy professor, I'm not sure where. And the title of her piece is Should We Cancel? Aristotle. And she starts out by the piece by saying, look, I mean, clearly, Aristotle was pro-slavery. He believes the slaves were less than human. But even more than that, Aristotle believed that women were less than human. The women should not be, should not have a vote and should not own property, should not be treated equally. He did not believe in any kind of equality before the law, equality of rights. And he believed that people, he was racist and he was sexist. And I don't even know if slave Aristotle meant a race. I doubt it. So I doubt that it was an issue of race. I think it was more an issue of stature, of status. He even believed that workers, people who worked with their hands were not the equal of everybody else, right? Oh, Greg says, Agnes is at the University of Chicago. So, wow, that's a good school. And therefore, she says, you would think that we would wanna cancel Aristotle. She says it's not just Aristotle. She mentions that cons and hum were racist, made racist comments, not that they were racist, made racist comments. And Frege, who I don't know, made anti-Semitic ones. And Wittgenstein was racingly a fund about his sexism. And those are the examples that she gives. And she says, should this be? She says, should this be a basis for canceling them? And her focus is primarily on Aristotle.  She's kind of leading us to the idea that we should be canceling Aristotle. And whoa, this is gonna be, this is gonna be horrific, right? But she doesn't, you know, to her credit, she doesn't. And so she says, actually no, I don't think they should be canceled. And in particular, she says, I don't think Aristotle should be canceled. I think Aristotle has real value. There's some really interesting things about value.  I mean, the scope of logic and the father of science and his ethics are far more meaningful and deep and interesting and important than the credit she gives them. She kind of brushes it off in a certain respect. She says, you know, we could use some of the Aristotelian ethics in terms of excellence is veneration of excellence. But she says, no, we shouldn't. And actually, we should teach Aristotle and teach his others, not because necessarily, somewhat because they have some positive values. But more importantly, she says, we shouldn't judge them. And this is, you know, I'm interpreting what she's saying because at some point, and I have to admit, at some point in my view, she turns to philosopher speak, which makes it difficult for me to follow. So we might have to have Greg on to explain exactly what she's saying. But my sense is she's arguing for tolerance. And she doesn't really argue very well for tolerance, but she argues for tolerance on the one hand. And the other hand, she argues for taking context into account, which I think is a good argument. She says, in a sense, she's saying, again, she doesn't say it clearly. So I'm not sure this is her argument. But in a sense, she's saying, you've got to take the context of their life. You've got to take the context of the time for which they're coming. She describes aliens coming to Earth. And she says, if aliens showed up and said, we believe blacks are inferior to whites, then I would disagree with them, but I wouldn't cancel them in a sense. I would listen to them. I would, because they come from a different context. They come from something else. They don't know what we've lived. They don't have an experience. I want to know what they have to say, and I debate it. And she says, reading Aristotle today in the context in which we live today is almost like he's an alien. He's coming from a completely different world, completely different context, and we should debate it. We should argue it. We should listen. Now, there's a certain sense in which she's right. In a certain sense is which she's not, right? Listening to other ideas that you disagree with, particularly ideas that come from a different part of history, or from a different universe, like an alien's, not a different universe, a different planet system, like aliens. But at some point, once the context has been established, I think it's important that some ideas be dismissed. Some ideas, I hate using the left's terminology, so I'm not gonna say should be canceled, but some ideas should not be tolerated. Evil generally should not be tolerated. I am not tolerant of racists. I'm not tolerant of communists. I'm not tolerant of Nazis. I don't wanna be in the same room with them. I will not get on a stage with them. If I meet one, I will get angry. I'm not tolerant of them. There's a certain, I think, in any respectable society, respectable culture, and this is the argument I tried to make the other day about cancer culture. There's a certain sense in which canceling people is right. By the way, James, thank you. That is incredibly generous, I really appreciate it. That canceling is right. It's the right thing to do. There's certain words that are not acceptable anymore. You don't say the n-word. And I think that's fine, given the history. I mean, I think it's fine not to say it. And if you say it, you better know what you're saying and there better be a context, right? But certainly the ideas, certain ideas like racism should not be tolerated. Now, I agree completely. Aristotle needs to be taken within the context. It needs to be studied within the context of the history and of human knowledge at the time. And those ideas need to be dismissed as well. And then you go on to study other ideas that are right in Aristotle's case, right? And because there's value there, because they're good ideas, because they're right ideas, you should be studied. But imagine if Aristotle was just the racist. Imagine there's another thinker, and I don't know if one, there is just horrible. Everything they say is evil and wrong. Then no, there's no point in studying them unless within a context of some historical speciality. So it's, there is such a thing as intolerant, as not tolerating certain ideas, not tolerating certain people. And certain ideas, particularly in the world we live in today, mean immorality.   Because there's no way you can ignore the evidence. There's no way you can ignore the evidence of what the communist did. And the same thing about a Nazi.  It's the ideas reflect on your own morality, accepting certain ideas. Is constitutes an immorality? Because it constitutes evasion. Now again, you can say, okay, he's 16 years old, he hasn't studied anything, he doesn't know anything. Fine, at a certain young age, you can give people a pass. But at some point, no more. I think I've told the story of the communist. I've told the story at least once. I'm sitting at a, I'm sitting in the studio in the green room of the John Stossel show at Fox a few years ago.  The kind of people who show up on John Stossel. Somebody says, I sound like a self-righteous Marxist. I'm self-righteous. I don't see nuance, complexity, or context in racism, Nazism, or communism. I mean, I see some nuance in religion, but certainly not in racism, communism, Nazism. There's no nuance.  And I'm self-righteous, I'm a self-righteous objectivist. I do not tolerate evil. So I'm sitting there surrounded by kind of the usual people who would be at a John Stossel show.  And everybody's like chatting with him, how's it going, how you doing? You know, everybody's treating him nicely and as if they're all pals. And it turns out, I think I was debating him on the Stossel show without even knowing it, but I came right after him. I can't even remember. But anyway, everybody's treating him like he's a normal guy. And I'm like, really, he's a communist? And I said, yeah, yeah, he comes from a long line of Jewish kind of leftists, New York left communists.  Considered as a self-communist. And I just got so angry. And I just started laying into this guy, you know, and everybody else, nobody would take him on. Everybody was like polite and nice and friendly and everything. And I was like, you're not friendly with a communist. You can't do that. You can't just shake a communist hand and pretend everything's fine. He holds an anti-life genocidal ideology. And I said to the guys, if a Nazi, if somebody walked in and said, I'm a Nazi, would you treat him like a normal human being? And they all said, well, of course not. And why do you treat communists like normal human beings? They're not. So, yeah, so we ended up, I ended up yelling, getting angry at the guy and condemning him and blaming him for hundreds of millions, for a hundred million deaths. And he was defending himself. And the people came out literally from the ward, from the makeup room, everybody. And they literally put chairs around me going after this guy in the stausel thing. And then I think we, I can't sure if we landed up on camera together separately, I can't remember. But I have no patience for that. And yes, I'm intolerant. And I'm, what did he call me? He called me something Marxist. Anyway, so I'm self-righteous. I don't know why self-righteous Marxist. And then he says, I sound like I'm religious. Well, am I religious or am I Marxist? Decide. You wanna have me being, I'm just self-righteous. It doesn't have to be religious and it doesn't have to be Marxist, actually, believe in that there is a truth out there. There's right or wrong, there's good and evil. And one has to take a stand. And if you don't take a stand on the side of good, then you're taking a stand by default on the side of evil. So, you know, you're either gonna fight or by default you're helping the bad guy's win. What we need today, what I called a new intellectual would be any man or woman who is willing to think. Meaning, any man or woman who knows that man's life must be guided by reason, by the intellect, not by feelings, wishes, wins or mystic revelations. Any man or woman who values his life and who does not want to give in to today's cult of despair, cynicism and impotence and does not intend to give up the world to the dark ages and to the role of the collectivist broads. All right, before we go on, reminder, please like the show. We've got 163 live listeners right now, 30 likes, that should be at least 100. I figure at least 100 of you actually like the show.   Start liking it, I wanna see that go to 100. All it takes is a click of a thing, whether you're looking at this. And you know the likes matter. It's not an issue of my ego. It's an issue of the algorithm. The more you like something, the more the algorithm likes it. So, you know, and if you don't like the show, give it a thumbs down. Let's see your actual views being reflected in the likes. But if you like it, don't just sit there, help get the show promoted. Of course, you should also share. And you can support the show at youronbrookshow.com slash support on Patreon or Subscribestar or locals. And show your support for the work, for the value, hopefully you're receiving from this.  You'll know what shows are on, when they're on. You'll get notified, right? So, yes, like, share, subscribe, support. Like, share, subscribe, support. There you go. Easy. Do one, all of those, please. Not sure when the next.


Hello and welcome to this session. In this session we discussed the following question that says find the position vector of a point r which divides the line joining point p and q whose position vectors are 2 vector a plus vector b and vector a minus 3 vector b respectively externally in the ratio 1 is to 2 also show that p is the midpoint of the line segment r, q. Before moving on to the solution let's discuss the section formula for external division. If suppose we have two points a and b and we are given that the position vector of the point a is vector a its position vector of the point b is vector b we have a point p which divides the line joining the points a and b that is p divides a b externally m is to n the position vector of the point p b equal to vector r is equal to vector b minus n into vector a upon n minus n is the key idea that we use in this question. Let's proceed with the solution now. We are given two points p and q and this point r divides the line joining points p and q externally in the ratio 1 is to 2. We have also given the position vectors of the points p and q and we are supposed to find the position vector of the point r. Two points p and q r is the point which divides the line joining the points p and q in the ratio 1 is to 2. We have also taken the position vectors of these points p, r and q that is we have let the position vector of point p be vector p position vector point q be vector q and the position vector of point r be vector r. We are already given the position vectors of the points p and q is equal to vector q is equal to vector a minus 3 vector b. Now, from the key idea we have the position vector of the point p the line joining the points a b externally in the ratio m is to n is given by vector r equal to vector b minus m into vector a this whole upon m minus n. Now, we are given that the point r ratio 1 is to 2 can be compared with the ratio m is to the idea we have vector r is equal to m minus 1 into the position vector of the point q which is vector a vector b which is 2 vector a plus vector b and this whole upon n minus n that is 1 minus 2. So, this is equal to vector a 4 vector a minus 2 vector b or you can say vector r is equal to minus 3 vector a minus 5 vector b is upon minus 1 or you can say this means that vector r is equal to 3 vector a plus 5 vector b. Therefore, we can say that the position vector 3 vector a plus 5 vector b show that point p line segment are line joining the points r and q in the same ratio this is what we have to show r to the ratio 1 is to 1. At the position vector of a point a as vector a position vector of a point b as vector b point p divides internally the ratio m is to have position vector of point p as vector r then is equal to this one upon m plus a using this result the position vector vector q plus 1 into which is vector r you already know vector b 1 plus 1 which is so this is equal to vector a minus 3 vector b plus 3 vector a plus 5 vector b upon 4 vector a vector b upon 2 which is equal to 2 vector a plus vector b the position vector of the midpoint of r q is 2 vector a plus vector b vector b is the vector p which is the position vector of the point p as we say that this is same as the position vector this is same as vector p and therefore we can now say this midpoint hope you understood the solution of this question.


ǅ  дуже ǎijǐ 85 � abel ʏ , ʏ  ʏ ʒ ʏ ʏ ʒ ʏ ʒ ʏ ʏ ʔ ʂam nārʏ ʀ ʀ ʀ ʀ ʀ ʂatɨ ʀ ʀ Liver ʔ ʏ ʀʀ ʀ ʀ ʀ ʀ ʀʀ ʀ ʀ ʀ ʀ ʀ ʀ ʀ ʀ ʀ ʀ你ʀʀ ʀ ʀ ʀʀ ʀATE ʀʀ ʀKʀ yapd


G'day, I'm Alan Boyd, captain of Berwick CFA. This morning, just before 11.30am, we had a report of a car had gone into a shop in BMSI Drive here in Berwick. Our appliances rolled along with Danny on rescue to the scene and found the situation that you can see behind me right now. The car had gone backwards into the shop. Female occupant was in the passenger side of the vehicle, complaining of quite serious chest and back pain. Our crews went about stabilising the situation, shutting down the power. The car was on gas. We needed to isolate the gas, isolate the battery to the car and await rescue and ambulance. We were the first emergency service on scene. Once ambulance arrived, it wasn't long before we got the patient out of the vehicle with the assistance of the rescue crew. We didn't actually need to do a full extrication. What we found though was quite extensive damage to the shop. We had to call in other services. We called in the power company to isolate the power as the switchboard was demolished. Also the City of Casey building surveyor and the SES to port up the building. In all we had three casualties on scene. The person in the vehicle, another occupant of the vehicle, the female was sitting on the side with some superficial injuries. A worker in the shop actually had some leg injuries and was also treated by the ambulance and transported. So in all we had three casualties all transported to hospital by the ambulance service.


So, for those of you that follow my titlebar tutorial, we ended up having a program something like this. So you can move it around, you can maximize, minimize and everything, close it. But the main issue and what people requested is that you cannot resize the window. If you move the mouse to the corners, like you don't see the usual arrows that allow you to resize it and you might be okay with that, but in some other cases you want to be able to resize the window. So let's go ahead and create some handles that we can drag and move the windows around and make it bigger or smaller. To do that, what I'm going to do is to make a small room here at the bottom. I can select the graph edit which is the node we use here and we need to have just a tiny bit of space so we can detect the mouse and everything and let's create a control node which is going to be our handler. Okay, we have it right here, let's make it, okay, could be using the layout, use the bottom wide and make it a bit taller. Okay, so that way we're going to have always that part covered with this control node which is the one that we're going to be using. So with every control node you have a section here in the inspector which is mouse, you have the filter which remember this will tell if the mouse has to stop every action and don't continue passing it by to the elements behind it. Ignore, which will just like the name says ignore it and don't register any of your inputs or pass which will register everything and continue sending the signal to the elements under it. For this one I don't really mind like we don't have anything behind it so stop it's fine but here on the default cursor shape you can choose what the cursor will look like when you hover it. In this case we want to have the vertical resize cursor so that way when I enable it and I try the program and I move the mouse there I see the resize. Okay, it doesn't work magically like that so even if I click or I do anything with it like it's not going to change but at least we have the cursor native to your operating system. Now let's add the code to make it work. Let's attach script handler.gd. I'm not sure if I'm using this word right handler, I hope it is. And the code is going to be very similar to what the title bar was. We're going to have a follow, we're going to have like the starting position of where things are going to be but the main thing that we're going to do with this is instead of changing like if you remember when you click here we are changing the window position instead of changing the window position we're going to change the window size and to do that we're going to have to track what is the current size where I'm clicking and if I'm clicking or not and when I release that it will stop following and you know the height of it. So let's start with the signals. Let's connect the GUI input which it will track everything let's connect to the handlebar and here let's do the same as we did before if the event which is what we're getting on this signal is input event mouse button so we are ignoring everything that is moving the cursor on top of it pressing any key or anything and if the mouse button in this case the event is one so we're pressing the left button we want to get the mouse offset which will be the local mouse position that way we know if we click it more on the left on the right so for this variable I will need to do it a global one let's declare it here mouse offset okay it can be empty it will assign its value here like its type now we also want to have the window position we might cover that later on the tutorial we also want to have the window size which is what we're gonna be modifying and we want to toggle if we are following the window or not we're gonna use the same name for following because we want to know if we have to follow the mouse input or not and since we want to toggle it we do this which basically means the opposite of what this is following is going to be also one of these variables but it will just default to false okay okay window size as well and now everything should be fine okay so since when you press click the first time you register one of these events it will set the following and when you release it is going to be also a mouse input event from left click so we want to set it to false okay now what are we gonna do when we are following so in the process function remember this function happens every step actually we have it here but we're gonna remove this we don't need it okay if we follow so if we follow now we can do the changes in this case it's going to be the os window size and since we are only resizing vertically let's do the y okay you can do this with every vector two like when it's a vector two variable you have the x and you have the y variables in this case the y is just the vertical size of the window and this gets a little bit confusing okay but we want to know what's the global mouse position which is where the mouse is like on your screen and we want to get the y position because we are only resizing vertically we also need to know the distance of this element to the edge and that's a variable that we need to get on ready why is that important because imagine that you want to have the handler over here just here let's say you need to know what's the distance between here and here to calculate if you are like making the window bigger or smaller like when i'm clicking where i'm clicking how far is that from there because if we are calculating this y position the window frame will automatically jump here to where our mouse is so we want to make it go here let's undo that change let's get it already let's call it distance to edge let's get it on the ready distance to edge equal to os window size y minus rect global position y this is the global position of this control node we have this is the size of the screen so if the height is this let's say is this part of the screen and the element is over there which is get this distance to the simple subtraction now let's add that distance to the modifier here so this stands to edge and it's very important that we need the mouse offset variable that we created the y version we want to remove this which is if you click imagine this part this bar over here is all the handle bar if we click it here or if we click it here it are you know there are different values on the y axis so we want to get all those different inputs we also want to change the position of this same element this is more flexible in this case i don't think that we really need it but because we already set it on the layout but let's do it anyway rect position y os window size y minus distance to edge okay so i think we have everything now let's try it out let's see if it works if we can resize this okay no it doesn't work and you might be wondering why is this happening well the main issue is that with using the layout and all this code that i'm writing having it as an anchor here like when we select this element here the anchor having it like this generate a lot of weird problems for me so what i do is i do it manually and i reset everything to zero i move it ignoring the layout thing and i just place it there since i'm using the code to make it go up and down this should be enough for you to work let's try it out again without the layout thing and yeah we can resize it vertically as expected so now we have a window with our custom text bar and with the with the vertical resizing of the window so let's add the other two let's add one here to the left and one here to the right and just so you know this doesn't have to be like this you can do it in the shape you want if we move this let's let's hide the graph edit imagine let's this is another kind of program and let's say we want to have only this as the handler let's add a color rect which is going to be the full rect and it's going to be like here like this i don't know green yeah this green whatever so remember just if you do this use the ignore so we don't get confused the the cursor by any of this but yeah the handler here so now if i click in that part of the window you see like we have the resizing yeah and if i click on the rest it doesn't have it so if you want to have like a custom layout with some like special control where you can drag it from a position you can do so but if you want to have it full size you can do it as well let's hide this so we don't have anything other than our title bar so this is more similar to what a window for your program might look like and you can make it like that and if we go full screen or minimize it and then we maximize it we have the same size it keeps everything as we had it before okay so now if we duplicate it and let's make so we cannot select the children let's create one for the side for the right side okay let's do it like so but what happens now if we test it you will see that i can i'm resizing the side that is not the one that i want so i have to go this again remember that the green thing you see is just for reference it doesn't have to be like that on your program you can hide it anytime or you can you don't really need this right so let's modify the script so you also work to resize the right side first of all we need to check if it's indeed the right or the left side let's create a variable export it's going to be a poolion and it's going to be left like is this the left let's say false by default and the same with is this vertical or not let's say true because it was the first one we did since we started doing the vertical let's assign it like that okay now that we have if it's left or not if it's vertical or not we can save it and when we select the nodes you see on the inspector here the values is this the vertical one yes is this one the vertical no it's not it's not the left either that's gonna come later let's do the right one first okay now we need to also track the instance to the edge but instead of using the y values we're gonna be using the x values so if it's vertical we want this part of the code but else that means it's not vertical let's get the distance to the edge to be the position of this rect global position x and let's subtract the window size x okay so now that we have the distance let's now make the changes on the process function i'm gonna add a couple of empty lines so we can scroll it to the middle of screen okay okay so it's following yes if it's vertical we want to have this but if it's horizontal we want to do something else in this case instead of resizing the y we're gonna resize the x and let's get the global global mouse position x minus the distance to the edge minus the mouse of set x okay so we have that and we have to now update the position remember if we don't update the position let's see how let's see what happens like i'm resizing the window but the handler still is still there so if i left it like it's not updating this one we are updating the position and if we leave it somewhere we know what it's always going to be there also we want to change the cursor here we have the vertical cursor let's go mouse vertical resize horizontal resize okay and now the position to do that let's add here so let's check again if it's vertical and false and let's also check if it's not left so left equal false okay and rect global position x which is a position of this element it's going to be the same as the window size x plus the distance to the edge that we had calculated before okay so the rect position you already know that one the window size is like how the width and stuff and the distance to the edge is the same like how far is from the edge or not i'm doing this like this which is fairly simple to understand if you just read the name of the variables but you will see now that we have a main issue right now we've been modifying the size of the windows by changing the y and the x values but if you want to do the resize again from the left side as well there's no way to change the x value of the window size which is this one but from starting from this side so what we're gonna do to make the left handle is move the window and at the same time that are we moving the window to the right we're gonna be resizing the window to the left so that way it will create the illusion that we are resizing it from this side instead of like this it's a bit confusing if you want to try it i really encourage you to try to code it yourself so you understand it completely if not you can just copy the code and paste it in your project but let's go and implement the left side now as we did before with this one let's create a duplicated version of this one press ctrl d now i move it here let's create another shape so we know that this works in any shape or form in any position let's now open the script let's now assign this is not going to be vertical but this is going to be left yes we want that and now inside the script let's fill out the gaps now here we need to check the difference for the distance because in this case we're checking this part and the size is the distance from the left of the of the screen in the left screen we don't need to check that so it's gonna be different so if it's left we want it this tends to edge to be just the position of this element and on the right the one we had since zero is the left we don't need to get the size of the window or anything the handler this stays the same we don't need to change anything but we have to change something here because there are two cases if it's not vertical we want to check if it's left or if it's right in this case the right we already have it and left is the one that we have to do right now so first thing we're going to do is move the window to the other side i took this part exactly the same as we had it on the other tutorial so this is the same code that we used for the window moving which is changing the position of the x to what the current position of the window is plus the mouse where you are moving it removing the offset so if you click it in any other place or whatever and the this end of the to the edge to the element that we are clicking you can check it for my information you can check that tutorial on how we did the custom title bar and if we leave it like this you will see that when i drag it from this side everything moves so the first steps is done now we need to make the window smaller to make it seem like we are resizing it like this okay so os window size x needs to be the window size x of when we click it remember that when we click it we are saving this value and it's going to be plus the window position plus x minus the window position x that we have so this seems very confusing but the size here that we are saving that we are storing and we're using right now it only updates first when you click it and also when you release it so we have a point of reference we have the reference of what the size of the screen and the position was before modifying it since we are modifying it here we want to know how it was before modifying it and we are applying that to the current size that we have let's try it out and when i resize it it moves like expected so now we basically have a window with a custom title bar and the resizing which works exactly as you expect them to do a couple things you have to consider as you can see here if i resize the window more than the size of the handle that we have here the user will not know where is it and you will have to resize it somehow so as homework you can try to make this element as well as we did move it to the position that we wanted make it grow to the full height of the screen or you can just do it on the editor like making it super big so you don't worry like if you resize it or not you're gonna have like always a handle here and second of all and another homework for you if you want to try it is we can do the same thing but with the diagonals so not only having like the up and down but also having these corners over here which will be one here and one here you can also do the same trick with it with the left controller on the top so you are gonna be moving the window up and you're gonna be scaling it adding more size to the bottom and the same can be done with the other corners so that's it for today i hope it wasn't so confusing it was very confusing for me to discover but i ended up figuring it out if you have a better way of doing this please leave a comment on the video or read it or whatever and if you want to download the code for this which is not really that much but if you want to download the project anyway you can donate to my patreon and you can download any project from there i really really really appreciate my patreons thank you so much for all of you that are donating right now it means a lot to me and i hope that i can do more videos soon thanks again and see you next time bye


We're joined by General Manager, John Robinson. John, thanks as always for taking time. Yeah, good to be with you guys, Mike. All right, let's talk about your opponent this week, the Steelers, giving up 66 yards per game rushing. Why have the Steelers been so good against the run? Well, they got dudes, Mike. I mean, it's a formidable front.  I mean, these guys, they're big, they're strong, they play with good technique.  It's gonna be a tall task force. 24 sacks for the Steelers defense. Who really leads that pass rush? Yeah, again, pick a winner up front. It starts, Dupri is fast off the edge, Watt's fast off the edge. They got a great combination of moves. They've got speed to dip and lean around you. They can convert that speed rush to power, Heyward and Tuit on the inside. Both of those guys are long, they're strong and they get their hands up, and they've been playing together for a while. So in those twist games, those pass rush games, they have a really good feel for each other and want to anticipate when the ball snap. So it's typical Steelers, it's everybody. Exactly. Let's move to offense and let's talk about the run game. The Steelers have that going again, rushing for 137 yards per game led by James Connor. Yeah, I mean, they got a top 10 rushing attack. They got a big old line up front. Their receivers do a really good job blocking support.  He's a really patient back. He lets his blocks develop. He's got an excellent vision to see where he's supposed to run. He anticipates things well. He takes care of the football. And he didn't time real fast in the 40 at the combine, but as we all know, none of that really matters. You know, once you put the helmet on, because he's got speed, he's got burst in the open field to go to distance. How have the Steelers improved their receiving core as a whole since the last time the Titans faced Pittsburgh?  Coach Tomlin and Kevin, they've done a great job historically with that position group over the years. And it's no different now. You know, they've got Juju is back. He plays inside, he plays outside. He's an excellent runner. It's a great run after the catch player. They've got a speedy, you know, run after the catch player in Deontay Johnson, Washington out of Oklahoma State. He's been in the league, been up there for a couple of years. He's an excellent vertical threat. And then the rookie Claypole is off to a fast start. We like him coming out of the drafts as well. Big, fast, strong hands, go with the ball in his hands. And they added Ebron, pass, catch and tight end, who we're familiar with when it's time at Indy Infry Agency. You know, you got all of those weapons coupled with a future Hall of Fame quarterback. It's a challenge.


Hi everyone, hi. We've got researchers for the experience. Yes, we will say hi to Mr. Fish. No simping for the anomalies, I cannot promise. I made a promise to some people I'd go in court with 049, so this is going to be an experience. Welcome to our facility. Cypress Nell will be returning momentarily from break, so we have precious little time to go over some important rules and regulations. In order to maintain our cover here, I've been instructed to recite this curtain speech for you. Welcome to Thy Mealy Arts and this production of Signals, performing as part of the Hollywood Fringe Festival 2022, celebrating its 12th year with over 200 different shows, workshops, and parties throughout Hollywood. Although you may use your phone to take photos and notes for any narratives you uncover, we ask that you silence your phones and other electronic devices. Please note the emergency access which may be in front or behind you. Although we recommend you wear masks, site staff will not be. Now that's over with. Let me go over what you need to know. Firstly, although they are unaware of it, site staff are trapped in a time loop. You all are exempt. As such, bringing up this time loop to them will likely confuse and disorient them, which suggests you focused instead on the missions that you've been presented with. Second, the foundation is not here to judge your morality or choices. Merely your effectiveness. Previous participants have chosen to aid the foundation, others the SCPs, others to chart their own course. The decision is yours. Thirdly, any unduly disruptive, progressive behavior will result in your ejection from this exercise. Please do not touch or otherwise physically interact with any of the site personnel or SCPs unless explicitly invited to do so. Fourthly, as personnel outside of this time loop, you will be immune to the powers and effects of the various SCPs. The other personnel do not share this immunity. Fifthly, when the time loop starts in approximately two hours, you will have to vacate site premises or risk forever being trapped in the time loop like goes inside. Finally, remember your cover. Each of you has been assigned a department designation.  Now, everyone knows the department? Yes. Black Bradman, red for security, blue for research, and orange for defense. That was a memetic fact. I apologize, children. Very good. Good luck. I'm definitely dead now. Hello, everyone. I'm so sorry you were let in while we were on break, but on a potential let's get started, shall we? I am Sybil Elliott. I'm head of HR here at Site 0013. If you have any issues here today on your first day, I encourage you to find me on my desk. It's just behind this curtain here near the entrance, all right? So happy new year. So sorry your first day is on a Sunday, but ready to get started, all right? We'll begin with some introductions, some orientations. So I'll have you by department go to your department heads. We'll have administration go to this corner office here to meet the site head. Research will go behind this clear curtain here to meet the research team. If you're on security, you'll go right here with Blaine at this table. And if you're with D-Class, I'll have you go through that door to our containment areas, all right? If you're lost, come find me. Go ahead. Let's all go, everyone. Research team orientation. I'm the head of HR here at Site 0013. You might have noticed some of the other department heads walking in. We have Blaine coming here to meet the head of the security. And in the corner office, we have the site head. We're not only one admin, but the entire site head. Everyone, welcome to Site 0013. On our research team, our research site is Danny Taylor, and he shows up. Welcome, welcome. You're really excited to have me here. You've been selected because you are the press and the providers of the foundation have been signed. As you're pleased, you are finally helping us study the anomalies that we hold today. All of our anomalies have come to an end. We have a special containment container, which is large in the kingdom, SCPs. And all of our SCPs can be found in the containment area. So just go through that door and go out of the box. We want to keep this orientation short and follow orders. We believe we're going by doing, but we do have a couple of rules of thumb on site to make sure that you hold yourself overnight safely and with the door. The first is please do not touch any of the humanoid SCPs. All of them are very dangerous, that's why they're at the door. The second is to follow all extraction and protocol and make sure that somebody on site personnel knows where you are and what you're doing at all times. And the final one is please do not get caught up in distraction or touch any of our stuff. There's no prank or anything of the like. This is not the place for that. Is that understood? Do you have any questions? Yes. All right. Take your friend and we'll start giving you a raise. Okay, great. I can take like three of you. Any of you come with them as well? I'll take four. Great. Maybe some of y'all can just come this way. Make space in my little corner of the research. Hi everyone. So I'm Danny Taylor, like my sister said. Oh yeah. Lizzie's my sister. So she probably wants to give you actual work to do. But would you rather do something fun instead? Oh, certainly. Oh, amazing. Great. What are your names? Brianna. Brianna. Daniella. Daniella. Adelby. Adelby. Kelly. Kelly. Great. And I'm Danny. I'm sorry if I don't know your names. There's a lot of new recruits. Okay. So I have been looking into different artifact SCPs. So there's like the humanoid SCPs. You might call them monsters, so to speak. And the artifacts which are kind of like cursed objects or the like. There are several that I've been running to test. They've been tested on D-Class before, but I found a new test subject that I think is going to provide a lot more results. It's none of you, don't worry. It's my sister, Elizabeth Taylor. Oh. Now the one I want to look into is SCP-229-1, the fun box. It's stored in the archives. If I take it from the archives, Lizzie's going to trace it back to me and she might get mad and we don't want that to happen. So you need to find Chris the Intern. They're wearing like a red sweater vest and an avocado shirt. You cannot miss them. They have a bit of a crush on me. So if you tell them it's for Danny, they'll be like, oh yeah, totally. I'll be at the fun box from the archives. So if you can go over to Chris, ask for the fun box, and then sneak it back here. Then we can start our experiments. Excellent. All right, best researchers. I will see you soon. I think Chris is right over there. Lovely. What do you want to do, buddies? Should we talk to our dearest intern? Let's go for Chris. Hey there, buddy. Listen, I know you have a little bit of a relationship interest with one of our dear researchers here. And she actually wanted us to ask a little finger, especially from you. The only you can get it for us. Like Danny? Danny? Yes, Danny asked for us. I mean, I do have a bit of a crush. I've been making it a little obvious lately, because like, I'm thinking of asking her out soon. Oh. If I do this paper for you guys, do you think we could maybe put in your own words? I'm certain we can. Now, what you got to do is you need to go into the archives, and you need to get the fun box. It is very important for a test that she wants to perform. Don't worry anything about it. Don't ask any questions. All you need to do is get it for us. Yeah, yeah. I'll do it. I'll plan like the good work. If you could just watch out for security. I'm not sure what a G.O. would look like. Oh, don't worry. Don't worry. No, not use security. Like security. Like the security security. Don't worry. We'll keep an eye out. Okay, you guys wait right here. We've got you. And it looks like we've got our eyes.  David's got your eyes. Oh. We've got something interesting here. Now, that's certainly interesting. Is that something you think we should be concerned with? So David is my sister's fiance. He disappeared like 10 months ago. He's our other world explorer. And he went out on a very standard mission. And then we completely lost contact with him. So we thought he was dead. But now apparently he's over the radio. I hope he's okay. He's one of my best friends. So if he's still alive and we can get him back, that would be amazing. I think it might be interesting for us to go and check it out, since Davey went that way as well. Yeah, I know Joe's been looking into David's three appearance, but I didn't think he had any merit to it before. So you could definitely talk to him about it and blame where the signal went through. Let's go. Thank you for listening.  Please become a patron or visit our merch store at the link in our bio to support our work. Secure. Contain. Protect.


I'm here in the Gordon and Leslie Diamond Health Care Center right across from BGH in beautiful Vancouver Fairview and I've just had a flu shot. I was immunized today Dr. Perry Kendall and a lovely two-year-old little girl called Margo and all of us are taking care to protect ourselves from influenza. It's very important this year that young children and their parents get immunized. For the first time this year, providing free vaccine to all children six months to five years of age and we've done that because we know that children of this age are at higher risk of severe illness from influenza compared to older children and healthy adults. It is very important if you're one of the groups identified as eligible for free vaccine that you do get immunized. It's equally important that those of us who work or live with people who are identified at higher risk that we get vaccinated as well. By protecting ourselves from through we also protect them. That is why this year here in British Columbia we have asked all healthcare workers to either get immunized against influenza or to wear a mask for the duration of the flu season. Influenza can be a very unpleasant illness with fever and chills and put you to bed for a few days but for some people, for older people, for young children, for women who are pregnant and for people whose immune system is compromised, it can be deadly and so I made the choice to have a flu shot and I'm encouraging British Columbians who are eligible and even those who don't are not eligible for a free flu shot to get out there and get protected.


So I'm Diana, and I'll be talking a little bit about colors. And I'll be talking a little bit about colors. So when I first learned about colors, this was in what, elementary school art class. And I learned, and maybe you did too, that there were three primary colors, red, yellow, and blue, and that you could make any combination of colors from those three. If you mixed red and yellow, you would get orange. If you mixed yellow and blue, you would get green. And if you mixed blue and red, you would get purple. And then you can continue to mix those primary and secondary colors to create everything along the color wheel. But this is not exactly how colors are represented on the computer. On the computer, all the colors are represented by three numbers, as a combination of red, green, and blue lights, usually known as RGB representation. And part of the reason why the computer does this is because that's how monitors work. Each pixel in a monitor has a red, green, and blue light that are then turned on at different values to get each color of the pixel. And so sort of the higher the numeric value for each color, the closer you get to white. And pure white is then a color with maximum values in all three of red, blue, and green lights. And it's not the most intuitive thing in the world, like red and green mixed together gives you yellow, red and blue gives you magenta, and green and blue gives you cyan. And so the way you mix colors together on an RGB representation is usually through linear interpolation, which you can think of as putting the two colors at the ends of a line. So here we have red and blue. And red here is at position zero and blue is at position one. So if you wanted to get any mixture of them at position X somewhere between zero and one, you multiply X by the RGB values of the first color and then one minus X times the RGB values of the second color to get the blend of those two colors at that position. And that is what's used to create gradients in computers. The closer you get to position zero or red, in this case, the more red it is, and the closer you get to one, the more blue it is. And for a lot of colors, this looks pretty good. I don't know how accurate the color representation is on these slides, but red and blue mixed together does make something that resembles purple. And red and yellow makes a color that looks like orange, but sometimes it doesn't work quite as well because of the nature of RGB. When you mix yellow and blue, you get gray. So this is not exactly how mixing paints work, so let's talk about how mixing paints does work. So color actually is the reflection of light off of an object. And the way you perceive color is that all objects reflect certain wavelengths of light and absorb other wavelengths of light. And the wavelengths that are reflected are then picked up by your eye, and if the wavelength is somewhere between roughly 380 nanometers and 750 nanometers, it falls onto the visible light spectrum and you can see it. The shorter the wavelength, the closer you get to violet, and the longer the wavelength, the closer you get to red along the spectrum. You go from violet, blue, cyan, green, yellow, orange, red. So most objects, though, don't reflect a pure wavelength, including paints. So if you have a blue paint, it might reflect mostly light in the blue visible spectrum, but also some violet light and some green light. And similarly, if you have a yellow paint, it will reflect mostly yellow light or light in the yellow wavelength, but also some green and some orange. And so then when you mix those two together, the resulting color of the paint is usually... Hold on, my slide just closed. The resulting color of the paint is usually the color that is reflected by both of the component paints, which in this case would be green, because that's what's in between blue and yellow. And usually the green that's formed is actually a bit darker than the initial colors because the more color you mix together, the less light it can reflect overall, and an object that doesn't reflect any visible light appears black. And so if you eventually mix together all different colors of paint, you end up with something that approaches black. And this is known as subtractive color, where as you continuously add color, it gets darker and darker. And there is a way to represent subtractive color on the computer as well, known as the CMYK color model, which uses cyan, magenta, and yellow as its primary colors. And it's also not the most intuitive thing in the world. You have yellow and magenta making red, yellow and cyan making green, and magenta and cyan making blue. And this is the color format that's often used in printing, because printing is subtractive. You usually start off with a white sheet of paper and then you add inks on it to produce the color. And as much as it's useful for printing, CMYK still doesn't always give you the result that you would get when mixing paints. And this also makes sense in the form of CMYK. Blue is cyan and magenta, and yellow is full magenta. So when you mix them all together, you get black. So now what? How can we get color mixing so that it more accurately represents something that might actually show up in paints?  We can try to create a color space that can represent blending between colors really easily. But that will take probably another 10 minutes for me to explain. And also, because a computer uses RGB, you would have to convert them all to RGB to display on screen anyway. So since you can blend paints in real life and have them show up as colors, there's bound to be some sort of physics equation to be able to do that, and then we can simulate that on the computer. And there sort of is. There's an equation called the kubelka monk theory, which was surprisingly un-googlable. There's like 50 different variations of it, of which none of them are very well explained, so I tried my best. But in a nutshell, it returns the reflectance of light for a layer of pigment on a solid surface. That's not a nutshell. So more visually, again, sorry for the people in the back, you have here a layer of pigment, which you can see as this combination of blue and white ink. And then the inputs of the kubelka monk theory, you have white light shining down on this pigment, but we assume that it's on a surface solid enough that the light cannot go through it. And then some other inputs are the physical qualities of this pigment, so like the scattering and the absorption of light, which I don't understand too well, so I'll just leave it at that. And finally, then once you have all these inputs, you can calculate the reflectance of light and figure out what color the light is coming from this layer. And so the kubelka monk theory is actually used in actual art applications. Krita at one point had a painterly color mixer that implemented a variant of the kubelka monk theory to do their color blending. I would have a live demo, but unfortunately, this code was removed in 2012 because it was no longer being maintained, which brings me to a big problem with using the kubelka monk theory is that it's really complicated to implement, and partially because it requires a lot of information about your colors that's not provided by RGB. You need to know how transparent each of your pigments are. You need to know how much light it scatters, how much it absorbs, and that's not given to you based off of your computer code, so you had to make a lot of assumptions. But if you want something that's really physically accurate to a point, it might fail on some edge cases, then the kubelka monk theory is the way to go. But can we do better? We go back to our old arch-nenesis, blue and yellow, which in RGB, as you may recall, gives you gray when you mix them together. But we don't want to make them have gray. We want them to combine and make green. So instead of going straight from blue to yellow, we put green as a midpoint and then linearly interpolate from blue to green and then green to yellow. And already this looks a lot better because blue to green, the linear interpolation gives you something that looks like blueish-green, and then from green to yellow gives you a lighter green. But if we wanted to do even better and have a more accurate teal, we could put even more midpoints and sort of manually hint at where we want this blending to go.  And this is actually the method that is used in the iPad app paper. They went on an apparently year-long journey to try to find the best method to make their color mixer. And actually at some point implemented Kubelka Monk before deciding not to use it because it was too realistic. The problem with color mixing is that sometimes paints don't behave in ways that you expect colors to. We're taught in elementary school that blue and yellow make green, but sometimes paints do that and sometimes they don't. And if you want to have it so that it actually plays to what people's expectations are, they realize that the best way to make things that looked good was to do it all manually. And for a digital art app sometimes you have to trump realistic applications with what looks the best. And on that note, actually I showed you the color wheel at the beginning and claimed this was how colors mixed together. These colors are all chosen manually as well. So yeah, it's just colors are not really intuitive and some things work well and some things don't. So in summary, mixing colors is complicated. And part of that is because color representation in computers is not optimized for blending colors. They just tell you these are the colors that you can show on the computer. This is the relationship between the colors. But in order to mix colors, you can use physics or do it all manually to get realistic or not realistic color blending. Thank you.


that board is actually doing some things right now trying to figure out what's the best way they to To bring it and save money There's a lot of different pots of money that fiscal courts are able to tap into But if those pots of money's dries up then throughout County government, they're gonna have to find other ways of Maintaining I can assure you this that that board is number one priority. I have No qualms to say this they will make sure that everything is taken care of us as far as the Home delivery they will do as much as possible to have what they call the congregate meal all those things They don't take it out lightly either