Welcome back, in the last segment we started off by defining a problem that we wanted to solve which is how to efficiently use memory for storing entities with varying sizes. And we said that there is something called heap memory which can be used to implement solutions for such problems. In this segment we are going to use this heap memory, we are going to see how to use this heap memory. Okay, so let us take an example, we want to store a book object on the heap. So here is our book object, so it is a class book, car title and there is price. Maybe I should call it struct because I am using the internals, the members directly, so perhaps I should have called it a struct, but anyway. So I can declare a BPTR to be a pointer to a book object. So right now BPTR is not, does not contain a value, I am just defining that variable. Now here I am assigning a value to BPTR and this is a new statement. So this says BPTR equal to new book. New is actually an operator and this operator asks for heap memory. The syntax in general is going to be new followed by the name of a type. And what this causes is that memory for storing one variable of type t is allocated on the heap, is reserved on the heap. And this statement new t or new book returns the address of the allocated memory. So the address of that allocated memory comes back to the program and then that address gets stored in BPTR. So BPTR now has a pointer or BPTR contains the address of some location in the heap memory which has been given in response to this request. So now we can use that location. So we can write BPTR.arrow price because BPTR is a pointer. So we go to that variable and we look at the price member from it. And in this way we can keep using the memory as much as we want. We can change the price, we can change the title, we can do whatever with it. At some point we will discover or we will decide that look I do not need this memory any longer. So in that case we should return the memory back. We should tell the heap or the heap manager so to say that look I was using this memory but now I do not need it. So take it back and maybe give it to me later if I ask for it again. So that is done by this command delete BPTR. So that returns that memory back. New and delete are reserved words and they are also operators. Well a lot happens behind the scenes for view and delete. So there is some bookkeeping which keeps track of which part of the heap is currently in use. And as a result of this bookkeeping you are guaranteed that in response to a new request you will get memory that is not currently allocated to another request. Of course if the heap is full then you will run out of memory and your program will abort but if it is not full then you will get that memory. And the same region of memory can be allocated to two requests but only if the first request releases it using the delete before the second request is made. So at the same time the same memory cannot be in use due to two requests. So here is an example showing how the heap memory functions and how it is different from the standard activation frame memory. So in this program let us look at main. So main starts off with creating a variable Q which is a pointer to end which is of type int star and Q is being assigned the result of calling g. So g is called and notice that g is actually returning a pointer to end, int star g. So int star is the return type and g is returning a pointer to end. So what happens inside g? Well first a local variable or a p is created of type int star. So this is in the activation frame of g. Then we execute our new statement p equals new end. So what does this do? Well it places an address in the heap so it causes a location in the heap to be allocated and that address is placed in p. So p is now pointing to some location in heap memory which has been given for it. Then we say star p equal to 5. So what does this do? Well star p takes you to the location in heap memory and you place a 5 over there. So 5 is stored in the location in the heap memory which was given to us and now we are returning p. So what does return p mean? Well whatever the value of p is is return. But what is the value of p? So the value of p is the heap memory address. So this heap memory address is returned and this goes and takes the place effectively of this call and it sits in this queue. So that address goes and sits in queue. And now when we print star q what is happening? So q at this point contains an address in the heap memory which was allocated over here. So star q is pointing to that same address but into which we had stored a 5 over here and therefore if you print star q it will print 5. So at this point we have discovered that we do not need q any longer or we have decided that we do not need q any longer and therefore we are going to delete q. So notice that there is something unusual going on from the point of view of what you have known so far which is that some memory got allocated over here and it is stayed across this function call boundary and then it was used in the main program and then it was deleted in the main program. So this is clearly very very different from the way the memory allocation happens on the activation frames. You can allocate arrays on the heap and so again let us say cptr is a pointer to characters. Now I can say cptr equals mu char 10. So this will give me an array of length 10 and array of char and now I can start accessing the array as usual because after all the name of the array is an address, address of the starting and cptr also is an address, address of the starting point of that array. So I can get the usual variable cptr0, cptr9. So the array elements I can just access in this manner. After I am done with the heap I can write delete square bracket cptr. So this causes the allocated array to be deleted. So note that it is not just plain delete but it is delete square bracket. So now we are pretty much in control of the situation. So our problem was storing many names and now we are able to do so. So let us see how. So let us say we want to store 100 names and so I am going to define an array of pointers, pointers to char. So I have an array of pointers and initially I have not put anything in it. So let me draw it pictorially. So this is my array names and let us say this is the 0th element, first element all the way till the 99th element. So what happens next? So I am going to go over all the elements of this array and I am going to have an iteration corresponding to all the elements of the array and in the iteration I am going to read in something into the buffer. I am going to read in the names into the buffer. Then I am going to calculate the length. So say on the side over here I have this buffer into which I read in something and as usual there will be a null after that and now I am going to call a function length which is supposed to return the number of characters till the null. So in this case it should return 3. So this function we have discussed earlier or we have discussed something like this earlier and this function is also discussed in the book but it is a very simple function. So you should be able to write it very, very easily. So it just returns how many characters there are until the null and L is set equal to that length plus 1. So what is the idea here? So we want to move, we want to allocate an array of just the right size. So L is going to be just the right size because in that array we want to store the name that we just read but we want to append a null character to it. So the plus 1 is so that we can append a null and now we are going to allocate space. So names of i, so in general let us start from 0. So this is a pointer, so this is of type char star. So it is going to be a pointer to a character. So we are going to do in this statement over here we are going to do names of i or say names of 0 in the 0th iteration equal to new char L. So there is some heap somewhere over here and from that heap I am going to get an allocation of an array of say in this case if L is 4 because there are 3 characters plus 1 then I am going to get an allocation of size 4 and the address of this is going to be put in over here. So typically we do this, draw this by making an arrow saying that whatever is here is pointing to this. So it really says that contained over here is the address of this location. So we have just allocated space for storing this in the heap and we have a pointer to that from our names array. Now we simply are going to copy. So we are going to copy from the buffer, so this is our buffer. So from this we copy into this. So whatever these 3 letters were followed by a null is going to get copied over here. So this is our buffer and this is names of 0 0, names of 0 1, names of 0 2, names of 0 3. So what has happened over here is that we read a name, we allocated space for it plus 1 so that we want to pad it with a null and then we copied that into the name into the newly allocated space and this we are going to do for all the 100 names that we want to work with. So that is it, so that is the program. And so I guess it is a good idea to see what the final result is going to look like. So this names array, so this is going to be present in the activation frame. So if this is the main program then this array is going to be present in the activation frame of the main program and this however is present in the heap memory and similarly from here another array, there will be a pointer to another array, maybe this time the name is long. From here there will be another pointer to another array and so on. So from each element of this names array there will be pointers to arrays in the heap memory. So all of this part is stored in the heap memory. Now in this case I have not shown you the deletion but of course you can write a loop and again once you are done you can delete all the variables and give back the memory to the heap. So this is the solution that we were asking for and we have just about used the memory that we needed. Well we used one null character extra for each name. So that is very minimal. And what is in the activation frame of main and what is on the heap we already discussed that. So in the heap memory all the arrays storing the names are there and in the activation frame the array names itself which contains pointers is in the activation frame. So what have we discussed in this segment? So in this segment we talked about how to use the heap memory. In particular we talked about the new and delete operators and then we talked about a solution to the problem with which we started the lecture and we showed that using new and delete we can in fact store all the names in a reasonably small amount of space and then we can get to those names quite easily as well. Now it turns out that while this solution is acceptable it is actually quite tricky to use the new and delete operators. And so we need to really evolve something more than just these two operators. We need to have some scheme, some policy for using new and delete and there are some difficulties in it, some pitfalls and in the next lecture we are going to talk about these pitfalls. But before that let us take a short break.


This study investigates the antimicrobial properties of efficiently synthesized biocompatible fluoroglysenol succinic acid, PGSA, dendrimer with anionic surfaces against gram-positive and gram-negative bacteria, as well as a fungal-human pathogen. Fluorescence and UV absorbance spectroscopy techniques were used to monitor the release of intracellular materials from the pathogens owing to anionic dendrimers. Molecular modeling studies revealed the exact binding sites of this dendrimer on these pathogens, motivating its use as a new antimicrobial agent. This article was authored by Murugasan Suresh Kumar, Subramani Karthikeyan, Shandra Segaran Ramprasad, and others.


So I'm sitting there eating lunch and I turn on the latest episode of MasterChef because it's one of my favorite shows. As I'm watching it, I just start to get this like big smile on my face and I felt great.  I'm going to make a video about this. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem but focus on the solution.  So if you're into that kind of stuff, make sure you subscribe and ring that notification bell because I make a ton of videos. And before I get started with this whole MasterChef thing, I just want to let you all know. So like something I forgot to mention in my Rewired Soul merch shop announcement was that on the back of every shirt, check this out. Yeah, on the back of every shirt it says focus on the solution. So those of you who follow my channel, you know that every single video I make, I start out by saying we talk about the problem but focus on the solution. And there are a million reasons why I say that. So many reasons why I say that. So I wanted to put that somewhere on the shirt. So it's actually on the back of the shirt. So the way I kind of see it and the reason like how that kind of came to fruition was like, think about it, you know, like you're rocking the shirt and you're walking past somebody and maybe somebody has a bad day and maybe they see the back of your shirt and they're stuck in their head and they're ruminating on something or some stuff that happened earlier in the day or whatever and they're just focused on the problem.  They're like, Oh my God, I need to focus on the solution. Right. So I thought that was kind of cool. So it is on the back of all the shirts. It's also on the back of the coffee mugs. So just want to throw that out there at the end of the video, I will provide a link to the Rewired Soul merch shop. There's also a link down in the description. If you want to check it out, my girlfriend and I were working on some new designs and things like that. So it'll constantly be updated. But yeah, I just forgot to mention that in my announcement video. And that's like a key feature on one of these beautiful pieces of clothing or a coffee mug. All right, anyways, let's get started. So MasterChef love that show. All right. So let me explain. So for those of you who don't know what MasterChef is, it's a show where they take, you know, the way they brand it is the best home cooks in America. Right. That's debatable.  But anyways, they take a bunch of home cooks and it's a cooking competition show. So they have a bunch of different judges and things like that on there. Gordon Ramsay has been on there like all the time. Love that dude. He's hilarious and great and he speaks such just insane amounts of truth and tough love. And real quick about Gordon Ramsay, one thing I love about him is even though he comes off as like a jerk and like, I don't always agree with his insulting, even though it's kind of funny to watch, like, you can tell that he cares about people and he wants to help them and things like that. But anyways, so this season it's the three judges are Gordon Ramsay, Joe Bastianich, I believe that's how you pronounce his last name, and Chef Arone Sanchez. All right.  There's team challenges and things like that. And right now the episode I'm on, they're down to the final five and it's a great, great, great competition show. But anyways, like, I want to talk about this and I want to make more videos about this because there's certain shows and certain, you know, YouTube channels and things like that that I watched just to get me in a better mood. And there's certain shows where like, you know, I'm just inspired or motivated or they give me all the good feels. And one of the reasons I want to do this is because, you know, I put out so much content and everything and I could talk about journaling and meditating and seeing a therapist or medications or whatever. But there's so many things that I do on a regular basis that I don't always know how to like put into a piece of content or even document it or anything. So I want to do a better job of just like letting you know, I do things every day throughout the day that help improve my mental health. So when it comes to MasterChef, one of the reasons I love this so much is because I love so much when people are pursuing their dreams and doing something that they're passionate about, something that they love doing. It just warms my heart so much. So you get like MasterChef and there's people and they come from all different walks of life, different backgrounds. They work in different industries, but they love to cook. They love to cook and they're like, and for me, that's inspiring for like anybody, you know, we live in this world where so many people are so depressed because of their job, just so depressed. They go into work. They hate it. They wake up in the morning and they hate the fact that they got to go to this job that they hate. They leave work and then they just want to zone out and veg out. You know what I mean? And like, I love seeing shows where people are trying to pursue something that they love. Even if they don't achieve it, just the fact that they're even trying it, that's amazing. And I love it. And like something I love about MasterChef, I've mentioned this when I talk about like the Twitch community, like I love how the MasterChef contestants like every now and then there's some drama and stuff. But for the most part, like they're just also loving and supportive. Like when they do like their mystery box challenges and they bring down the top three dishes, like everybody like they like hug each other and congratulate each other. Like they're all just there for like this common goal of to pursue their dreams and cook and just that's the way they express themselves. And I love that. And another reason why I just like enjoy cooking shows, certain ones I don't watch all of them. But like, I love this as a form of creativity, like something that helps me with my mental health. So here's another mental health hack for you is spicing myself and getting creative. So I enjoy cooking. I cook for my girlfriend sometimes, you know, I don't do it as much as I should or as I'd like to. My main thing is that I don't like doing dishes. That's my main issue. Just let you know. Okay, anyways, get it back to it.  So like something that you should do every single day is do like one or two things that help you be very creative. Like, for example, most jobs are very tedious. It's the same thing over and over and over. This is one of the reasons why people get depressed at work is because there's no purpose and not allowed to express themselves or be creative or go outside of the box. So try to find things where you can do like one or two things a day where you get to be creative.  And by the way, this isn't sponsored, but I need to reach out to them because I would love to be sponsored by Skillshare. I love what they do. You don't know what Skillshare is.  Not a bad deal. But anyways, I love the support that they all give each other. And it's something like I mentioned when I talked about the Twitch community, like, like, man, I love when people support each other around this common goal and they're not like trying to shade each other or outdo each other, you know, or maybe they, you know, they do outdo each other, but that's competitive spirit.  Like, that's one thing that's just royally screwed about the YouTube community is everybody's out for themselves trying to get their own little piece of the pie. And not not everybody, not everybody, excuse me for saying that. But a lot of people, a lot of people and it's messed up, man.  And that's one of the reasons why I love watching Masterchef. But the other thing is to like this episode I was watching earlier, this is a part of the season where they bring their families in, right? So these people have been in this competition, they haven't seen their families in weeks. And then like they surprise them like they just like don't even know that their families there.  And they get so happy and like when they're cooking, they just have these huge smiles on their faces, their families rooting for them. I'm like, I love that stuff. I love it. And they have supportive family members like, it's great. I love watching that stuff, you know? So like, and this is the thing and why I want to make more videos on this and just talk about these little micro things I do for my mental health. Like there's so much drama and nonsense out there. And then there's there's a stigma around technology and like, vaging out and watching TV. Like, I'm all about escapism, but just like to a certain extent, I'm trying to teach you like the reason why I talk about so many YouTubers and what's going on is because we watch these things so passively. And rarely do we take a look at ourselves and see what's going on. Is this making me happy? Is this putting me in a better mood or a worse mood? What's happening? Can I relate to some of the struggles? Like we need to consume this content in a more mindful way and pay attention to what's happening. Like I do so many things throughout my day, which is why I want to start documenting this, that just improve my mental health. And there's these small little hacks and tricks that I do and I want to put them all together for all of you. So like right now I'm working on putting together ideas for short little ebooks. I already have a couple up on Amazon, but they're mainly about addiction or helping someone who has an addiction. But like I want to do things about depression and anxiety and different things because I know everybody's different. And I want to put together all these different little things that you can do that cater to you. So if you don't like meditating, that's cool. Here, try this instead. Or if you don't like going out in public, if you isolate, okay, that's cool. Do this instead. You know what I mean? So I'm working on some books and they're going to be up on Amazon for like two or three dollars, but I just want you to have like a playbook so you can turn to this thing and be like, oh, okay, these are things that I can start practicing and then cater to what I'm already doing or what I like to do and all that kind of stuff. So like I'm, I'm, I just really felt like I wanted to make this video because I noticed how, how happy I was. Like here's what I want to do down in the comment section below. Like what, what inspires you? Like what shows or what movies or what YouTube channels do you watch that kind of give you the same thing where it makes you like smile. It makes you happy. It brings you out of like a depressive funk. Like what shows are those for you? I like I'm always looking for suggestions and I know other people, they might be looking for suggestions. So leave comments down below. What YouTube channels do you watch or shows or whatever, which ones put you in a good mood and why? Okay. Why do they put you in a good mood? All right. I can't wait to see what you guys say down in the comments below. Anyways, that's all I got for you. I appreciate you watching. And if you like this stuff, give it a thumbs up. And if you're new to my channel, make sure you subscribe and ring that notification bell and a huge thank you to everybody supporting the channel over on Patreon. You are all amazing and just as promised, boom, you can click or tap on that little logo right there. Check out the Rewired Soul merch shop. And remember, stay in the solution. All right. Thanks again for watching. I'll see you next time.


gender roles have changed and that women are adopting emulating men and my thinking is not speculative nor is it based on personal prejudices, misogynists as I am, it's based on studies that have shown that women describe themselves eight times more in masculine terms than they used to in 1990. The problem with women is they have emulated the wrong role more, they have emulated imitated psychopathic men, narcissistic men and mind you there are good men around, not all of us are psychopathic and narcissistic, just the two of us. Okay, so this is as an aside, yes I think it has to do with with changing self-perception, not so much gender or perception, women perceive themselves as masculine. I don't see anything wrong morally, socially with sex work, I personally wouldn't date a sex worker, wouldn't have an intimate relationship with her but I wouldn't have an intimate relationship with a with a war journalist or with a soldier or with a hit woman, it's there's a certain kind of personality which gravitates toward sex work, these are usually dark personalities, subclinical psychopaths and so on and I don't want to have relationships with such people, it's not the sex work itself that's the problem, it's the personality behind the sex work but sex work is selling certain body parts and men have been doing this for millennia in the construction industry men are selling their muscles, in my line of work in psychological counseling I'm selling my brain, I'm selling access to my brain so a woman is selling access to her vagina so why is this a category all on its own, either you condemn blanket condemn the sale of access to body parts, any body part, muscles, brains, genitalia and so on or all of them are equal morally and socially so the judgment of sex work is patriarchal, it's a social control tool, men have instituted this condemnation of sex work in order to relegate prostitutes to the fringes of society where they could be controlled and service the needs of the male population, it's a historical thing, it has nothing to do with anything objective, actually sex work is very beneficial to society, it takes off the market men who are incapable of dating or having relationships with women, it provides no strings attached, no complications sex, in my view it reduces the incidence and prevalence of sex crimes, it's a very beneficial thing, it should be institutionalized and indeed in certain periods of history and in certain societies and cultures prostitution was institutionalized and even was held sacred close to the gods so this is a Victorian hangover and women who end up being sex workers usually go through an earlier phase of promiscuity, indiscriminate sexual self-trashing and promiscuity and they realize why not make some cash out of activities that anyhow they engage in so and I think it's pretty dumb to give away your merchandise for free when you can make money out of it, as I said everyone is a prostitute, I prostitute my brain and condemning sex work is simply a men's way of controlling women, sex workers, most sex workers actually report that sex work is empowering, they get to choose specific men as regulars, they get to meet fascinating men, they get to have a regular sex life which many sex workers are hypersexual, they have a very high sex drive so they get to have a regular sex life, they get invited to restaurants, bars, clubs, they travel all over the world and they often end up snagging a rich husband, a rescuer type, a fixer type, a savior type like a taxi driver, rubber denero type, a taxi driver, so they end up well, they end up in their 40s and so on, they end up in scones in a family structure, few of them have children according to statistics but actually a substantial minority of sex workers end up being married and off the market and I forgot to mention of course that the sex workers who are into group sex and into king and so on, I mean sex work is the ideal venue to obtain all this, I do make a distinction between sex work and promiscuity, sex work is a choice, it sometimes is a last resort choice but it's always a choice, promiscuity is not, promiscuity is not about how many sex partners you have, that's a common mistake, you can have 100 sex partners and not be promiscuous, promiscuity is about why you're having sex in the first place, if you seek sex for all the wrong reasons with all the wrong people, you're promiscuous, promiscuity is also not gender specific, people tend to talk about promiscuous women, men can also be promiscuous, promiscuity is a behavioral pattern of resorting to sex for wrong reasons, for example self-soothing, upholding and buttressing or restoring self-esteem, wanting to be liked, we call these non-autonomous reasons, wanting to belong, wanting to be accepted, trading, transactional sex, trading sex for a free drink or for a place to crash, this is all promiscuity and promiscuity as opposed to sex work has only negative outcomes in every possible way, promiscuity fosters anxiety, depression and substance abuse, they are very closely correlated and on the societal, on the social level promiscuity renders men more entitled and more aggressive when they are turned down, men have come to expect sex within the hour and if you don't get it, they feel rejected and many of them become violent and so on and so the incidence of sexual assault has skyrocketed, more than one quarter of women have been raped and one third have experienced sexual assault, these are unconscionable statistics, like nowhere, nothing before, I mean it's unprecedented and that's because women are putting out promiscuously and men have come to expect this, the promiscuous people have dark personalities, most of them are subclinical psychopaths, exactly like sex workers but as opposed to sex workers, their sexuality is dysregulated, it's out of control, it's a form of acting out, the sex worker is premeditated, planned and utterly in control, of course a sex worker cannot come across a violent customer and so on but this could happen on a date, 27% of first dates end with rape, so people who are promiscuous are simply people who have lost control over the way they use sex, how sex is integrated in their lives, promiscuity is addictive, promiscuity is thrilling, dopaminergic, it involves novelty seeking, it involves reckless behaviors, it's a bit reminiscent of psychopathy, so it becomes an addiction and it's very difficult to get rid of it, promiscuous people tend to relapse, I mentioned this in a second and finally promiscuous people engage in sex without intimacy, without meaning, without emotions, promiscuous sex is basically physiological, it's like masturbating with another person's body and this becomes an ingrained habit, it becomes an addiction which is bound to resurface at some stages as I said before and relapses in promiscuity are common, promiscuous intimate partners are five times more likely to cheat, in the studies promiscuity is defined as someone with 10 partners or more before the age of 30, I think it's too low a bar, I think it should be 20 or 30 partners, but it doesn't matter, even with 10 partners, even with four partners there's already a marked increase in the propensity to cheat, so promiscuous people are far more likely to cheat and they do it serially, they're serial cheaters, they are a lot more liable to be unable to commit to the relationship and they break up 10 times as often as the general population, so promiscuous, teaming up having an intimate partner who used to be promiscuous that is seriously bad news, it means she or he will not be committed to the relationship, will cheat on you almost for sure and will break up with you very often or you know, so why go there? Promiscuity is a habit, an addictive habit, you should read the books by Kerry Cohen, it's an addictive habit, it rewires the brain, it stunts the development of relationship skills, promiscuity conditions the practitioner of promiscuity to sever any connection between sex and true profound, long-term intimacy and vulnerability, these are the foundations of intimate relationships, promiscuous people have been desensitized and master-sized, numb, numbed and so they go through the motions of sex like robots, there's nothing there, and you can't just switch this off, you can't suddenly be intimate and loving and caring and emotion full of emotions and so on in a single relationship out of 50, relationship out of 50, you can't just switch off the promiscuity circuit, it's there, it's taken over your brain, you can't have emotional, fulfilling, meaningful and intimate sex, after you have had 15 years of meaningless, emotionless and disintermittent sex, there's no way of going back and so sex positivity is counterfactual, it's not true, it flies in the face of decades of cumulative research, sex positivity is a pernicious and dangerous ideology that has ruined and is still devastating the lives of countless young men and women and that's why I'm railing against it, I hope I made clear how I see things, I'm not against agentic sexuality, even if you have multiple partners, if you're agentic, if it's choice, if you try to have a modicum of intimacy and connection and connectivity, nothing's wrong with it, if you're a sex worker of course nothing's wrong with it, but self-trushing promiscuity, that's mental health pathology and implying otherwise in the writings and teachings of the sex positivity cult is very, very, very dangerous and wrong and should be somehow outlawed or criminalized or definitely removed from the curricula of universities, gender studies and so on and today sex positivity is taught in all the major universities and higher education institutes, it's not very different to critical race theory and there should be a movement against


N-heterocyclic carbonis, NHCs, have emerged as a powerful class of organo-catalysts that mediate a variety of organic transformations. The benzoin reaction constitutes one of the earliest known carbon-carbon bond-forming reactions catalyzed by NHCs. The rapid growth of NHC catalysis in general has resulted in the development of a variety of benzoin and benzoin-type reactions. An overview of such NHC-catalyzed benzoin reactions is presented. This article was authored by Rajiv S. Menon, Akatuk T. Biju, and Vijay Nair.


आँ सकोरींग रूब्रिख्स लाई गुष्द्गू कु इस सेस्यन में आईगे बडानें गे और सकोरिंग रूब्रिख्स के बारे में एरजाए क ये पहोज ऽगीिख सामने के रूब्रिख्स हुए जातें With just two policy remarks I will talk about them with you ۚ because according to their resolution how a new assessment is created is often described in theads asís most possible These are analyzed and holistic rubrics For this session we will take only analysis and structure of rubric in next session we will talk about anotherick type जव दो ड़व ताईप सेवन में ज़े से मैं ताईव कहा, एक ठैव आनलिटिक रिब्रिक्स होतें, ये भून्यादी तोर्पे ये ये सकोरिं की वनाई जाती है। और इसके जवाब के मुख्तलिः फिसों के लिए माएक्स का टाएएून कि आदादादादादादाद. या कोंगान सी श्किल्स फोखिस की गईईईईई ये ताईएन आप पहले से नहीं करते है होलिस्टिक रीब्रिक में जवाब को मुख्लिफ हिस्षो में दिवाएड नहीं करती बलके आजे होल आनसर को सकोर करने का नाम है या उस में ये ताईएन करना सब से पहले हम उस सवाल के मेजर आलेमेंट्स जो के जवाब में हमें नजर आने चाही हैं उनका ताईएन करते हैं याने आजे हिस्षे या जवाब के वो मुट्वोग को चीजें जो सवाल के अपने जवाब के अंगर सवाल के बाद लिखेगा फिर उनको उनकी अईडिल शकल में देखना अगर को उस तुड़न्ट इनका नवारे सवाल के इन पिस्सों का अईडिल जवाब दे तो उस जवाब केईन चीजों पे मुँष्टम मिल होगा उनको हम सामने रख लेतें as a standard or as a yardstick and then it is clear that every student can not answer in the ideal form of it so we see that out of these, which part of the answer will be ideal which part of the answer will be less than ideal and less than that we share the numbers in the same way and in this way we check the set of various facilities and grade it according to its quality in this way in our answer after scoring after scoring we have in a clear cut form that whatever we expected in this answer which part of the answer and which part of the answer and which level of the quality was included so we score the student this question generally we analytical rubrics make this restricted response for such type of items because in restricted response if you remember we had said that the answer is already certain the answer to the student is to identify identify it organize it and then draw a conclusion so the answer is already less whereas this extended response questions are not correct in every situation for example if you are given to write something like this for that selection of content you do not have to do it in one place in one of the content every person has his own way he himself chooses which items will be included in it so the questions of extended response may be when to make analytical rubric and use it not as much as for restricted response questions it is more important to develop it to develop it its elements I mean its elements that when the student will give an answer what things should be included in the answer while applying it we have to keep our learning objectives in mind when I am making rubric and I am applying it then those elements should not go beyond my learning objective because when I studied I kept those things in mind and taught those things when I was focused those things can also be part of my rubric beyond that less things can be included in rubric but more than that what we have written that appropriateness to the learning objective means that the learning skills focused in the objective should be rubric within those skills similarly when you are allowing the elements that we want in the answer to be scored while allotting that score its relative importance should be kept in mind if I have explained or applied in my learning objective then when I am making a rubric then those students will get good quality by applying but this time the understanding now see this means that elements in rubric cannot go beyond the objective secondly those elements should have more weightage in the form of numbers which was more important then rubric also came to know that there is no such thing which I can connect with my learning objective without my own will it should be within the same limits and focus should be on those things which I focused on while studying this way in making a skip another important thing is when students give partially correct answer as an example I have written the ideal answer that the ideal answer of element number 1 would be this but if the student does not give the ideal answer and in certain cases that answer is correct till a certain point and after that it is wrong that answer is not correct then I cannot give it even 0 and I cannot give the complete number in this case when it can not be given then it is not at all wrong it cannot be given even 0 in this case we call it partial scoring giving partial credit neither in the complete number nor in the middle number this partial credit or partial score for partial correct answer in this again the element of subjectivity becomes more important because to be partial correct to be correct then this is a very subjective matter to solve this in general the way is that when you make partial credit and re-break then you do not need to start from the beginning you check a few papers and in those papers I try to see what kind of mistakes and with those mistakes you start to develop this sense of what kind of mistakes are being made then how much credit should be taken back on them should be given less you should take this number after that you finalize your re-break if you look at it without script without answers if you look at it before then it is possible that you write the reasons for giving partial credit it is possible that it is possible that you cannot see the answers so to avoid this let us check a few papers while the things that are in front of us we keep those things in front of us the more correct the answer the more it will get the credit and the more wrong it will be the less the credit will be and it will be divided between the highest and lowest okay? the same way you have seen that I have talked about partial credit the same explanation is given the concept of partial credit this is subjective and when you start to make re-breaks then try to make the questions less than the question of partial credit or if it is correct or if it is wrong so that you do not have to be in this confusion and whenever you become an expert it will be easier to understand the solution for you then you can start focusing on it now I will give you two examples of this I will keep it in front of you and I will keep it a little complex their face will be like this like the question number 1 is given and this is the same question which we have seen in our example what are the meiosis and mitosis there are two processes of cell division so if anyone knows about them then they will give him two numbers if he can list their similarities and can list differences then they will give 4 more points that is the skill focus to know their similarities to know their differences so these were the four points that you divided the score of your total test that is the score of the question and you divided it you should also keep in mind that when you are dividing the score then the score should not go ahead of your question it should be in it this is a very simple re-break a little complex re-break if you want to see so we have asked a question that in the answer of this question the four things we want to see first is examined problems second is to present the student's evidence third is to draw the conclusion fourth is to decide these are four things if we see in the answer of the student then we will understand that the answer is correct because the meaning of all these words which are written in the headers are different for the person so to keep them the same as I have written the description under the conclusion it can be written below all so I have written under the draw conclusion that what does it mean it means that make comparative judgment from data and able to adjust opinions when new facts are found and reject information that is incorrect or irrelevant this work when the student will demonstrate in his answer he can draw the conclusion and the credit to draw the conclusion will be given we have divided our scoring in four parts which are written in front of you now I have to follow their marks which are more what are the numbers what is the importance of studying first of all decision making was the most important which I had to teach so in decision making if I had made a question then I will give four numbers to it less importance was to draw the conclusion because the decision is based on the conclusion so I will say that there are three numbers two numbers are to search for evidence and one number to understand the problem this division of the marks it shows the importance of these four elements now how will I know that a student is drawing the conclusion so I said that I will see four things which are all factors if the student analyzes and interprets he can do comparisons he can relate the results and he can know the reasons so I will say that he can draw the conclusion of these four things and how will these four things be seen in the answer that analyze and interpretation of data this means that who is to be analyzed when I saw his answer that he has combined and he took out a new aspect which he wants to see when I will see comparisons when I will write student similarities and differences then I will say that he can do comparisons so how to see everything in the answer I have listed it here and the number of indicators I have listed it here that how many numbers will there be in each of these so this rubric is made it shows the skills in the answer it shows the ideal things and it shows the credit of those ideal things we call this rubric this was in a complex form which I have shown you it was a simple form of this kind of rubric


So in this module, I'll talk about the jobs of tomorrow, the jobs for which you are taking this course to have a better future. The reference for this jobs of tomorrow is the World Economic Forum. So the World Economic Forum is an NGO that was established in 1971 and the objective of this forum is to use the expertise of the global leaders from the business community, from the political elite and academia and others, and then use their collective wisdom to formulate policies and agenda, which is global, which is regional, and which is about the industry. So that is a brief background about the World Economic Forum, which has more than 120 member countries, and the heads of states meet and their support, which is required to develop these policies. So the World Economic Forum has put together a report, and that report is based upon the workers, the data scientists at their collaborative organizations, which are those collaborative organizations, that is the Burning Glass, that is the LinkedIn, and their own labs. The data scientists working over there, they have developed this report, and that report gives the business insights within what is expected to happen tomorrow, looking at the data sources and extrapolating those data sources in the future for the year 2020 and the year 2022, details are there in the material which is available with the course. So what are the key findings of that report? The key findings of that report is that what they have done is they have divided 96 categories of the jobs which are grouped into 7 subcategories, and they have found that the digital aspect of the employment opportunities is there, along with the human aspect of the employment opportunities. And those aspects are covered into 7 categories. What are those 7 categories? I will briefly tell you about those categories. For example, the category of the data and AI, the category of engineering, and the category of clouds, and the list goes on. So these categories for the 97 jobs over there, and those jobs are then clustered together, and they look at what are the prospects of the growth in terms of the annual growth and in terms of the jobs created per 1,000-10,000 opportunities. So those are the statistics. So that is an innovative way of looking at those statistics. And the highest growth is in the care roles. What are the care roles? The care roles are the sales, the marketing, and the content development. And the slowest growth rate, which is less than 2%, is in the green areas. For example, wind turbines technicians, for example, biogas technicians, and so on. So the growth rate is the smallest over there. So if you go into more details, so the highest growth rate of tomorrow jobs is in all those 7 categories. Of course, there are more categories, but in the 7 categories, the growth rate is there, and that growth rate has a higher level as compared to the other categories.  Those skills are not within a certain domain. They are not like a tunnel vision. They are cross-sectional. So that is what we will be covering in this course, which is the database web applications. Because it will invoice the expertise in databases, it will involve the expertise in design, normalization, development, the interface, and the middle tier programming and the list course. And user interface also. So we see that this is cross-functional. Now we go into some more details. Now if you look it over there, we can see over here that for the AI and data, okay, we have these 78 jobs per 10,000 jobs, which increase to 123. And for the green economy, it's the lowest one, which increases, but the increase is not very high. So data and AI is the key over here. Engineering and cloud computing, I'll go into more details. And of course, this care economy is the one which has said about the sales, about the marketing, and about the content development, right? So this is the breakdown of that details. Now if you look at over here, we see that the annual growth is the highest for the data and AI, the annual growth is the highest for data AI. In terms of the number of opportunities, it is the sales and the marketing. Sales and marketing and the content, this is the care. This is the care economy. So over here, it is the highest growth rate in terms of the number of opportunities. So we see that the areas which are of interest to the market are as over here. Now if I go into more details, we see that for the engineering and cloud, engineering and cloud, these are the emerging jobs, and these are the top 10 skills. Now if you look at the details over here, the second skill is over here, which is the web development, which is this course, web development database applications, web based database applications. So we see that this is for the tech baseline over here. Web development is the key over here, and when we go to the web development and we look across the emerging jobs, we see that the JavaScript developers, it is the third most emerging job. So in module 20, in module 20 of this course, we will be covering JavaScript and we will be covering in addition to the basic JavaScript, the other aspects of the JavaScript. We will be also covering this backend developer with reference to PHP. So what you can see over here is that your prospects of employment have a profound impact on your future. Why? Because of this, because of this, and because of this. So we see that the course which you have decided to take, that course has marketability, that course has strong prospects for a better future, and that word is not from me, but those words are from the report of the World Economic Forum, which has the backing of the global leaders from the academia, from the politics and from the business. So this is the background, and this is the justification, and this is the motivation you should have while you have registered for this course. And of course, we will be covering all of these aspects in the next coming modules.


Welcome everybody. I'm Rachel Chanoff, the Director of the Office, Performing Arts and Film. And we are thrilled and delighted that you're joining us for this event, which is part of the Arts and Healing, Thanks to Call Virtual Festival, which is co-presented by Cambodian Living Arts and Arts Emerson. And it's made possible thanks to the support of the Ministry of Culture of Taiwan and the collaboration of about 50 other artists and partners across seven countries. This panel is about the Performing Arts dealing with the impact of a global crisis. And it's going to be a contributing event on Howl Around Theater Commons, which is a free and open platform for theater makers around the world. You might have joined us for our previous talk, one of our previous talks from the co-commissioners of Bank's Call about the development of a piece and how it took presenters from around the world to make it happen. In today's event, we're again convening an extraordinary group of presenters who are going to discuss the current situation and explore how a pandemic is impacting the global arts landscape. We're absolutely honored to have Bill Bragan moderating the panel. Bill not only has a brilliant curatorial practice, Bill more important even than his brilliant curatorial practice is he is a crucial player in putting together the international ecosystem that really opens our minds and opens our borders when it comes to the impact culture can have on social change and social good. So, I mean, he's worked at some of the most esteemed institutions, Lincoln Center, the public theater, now NYU Abu Dhabi, and has had a global influence on how we perceive art across borders. So, welcome Bill Bragan. Great. Well, thank you so much for the kind introduction, Rachel. It's really great to be a part of this panel. I want to thank Cambodia Living Arts and Arts Emerson for inviting me to be a part of the arts and healing virtual festival. Thanks to Plume Prem and Jean-Baptiste Fou. I'm going to start by just introducing our three esteemed panelists who represent three different continents. So, first up, we've got David House. He's the Senior Associate Vice President of Emerson College and Executive Director of Arts Emerson, Boston's leading presenter of Contemporary World Theater. Welcome, David. Next up, Emmanuel Hondre, who directs the Department of Concerts and Performances at the Philharmonie de Paris. It's a complex of concert halls bringing music awareness and learning to a diverse audience. Welcome. And finally, we've got Shen Wenpin. He's the General and Artistic Director of the Weih Buying National Cushing Center for the Arts that brings local, as well as international talents to Southern Taiwan.  We're glad to have you here. Hello. Yes. So, I've been a long time found of Cambodia Living Arts. I was lucky enough to travel with CLP to Cambodia just over eight years ago when I was at Lincoln Center and we were a partner in the season of Cambodia Festival when it first came to New York. I also had the pleasure to invite Plume to a convening at NYU Abu Dhabi that was produced in partnership with Rachel Chanoff and her team at the office, which led to his ongoing relationship with NYU Lady. So, we're really thrilled to be a part of this. I've been personally tracking the development of Bansakul from a very early phase seeing early workshops. And although we weren't able to bring it to the Arts Center, I'm really pleased to moderate this discussion. To start off, I have a couple of questions just to set the context. And there's already been a full session with the co-commissioners of the project and we don't have that much time. But briefly, I was wondering if the three of you could each just explain your relationship to Bansakul. I know not everyone has presented it yet, but if you could talk a little bit about why you chose to present it and why work that's so specifically rooted in Cambodia's history, why it resonated for you within your own local community. And I'll start just in the order that I introduced you for the moment and we'll start with David. Sure. Thanks, Bill.  Our history starts a little bit back. We connected with a project in 2015, 2016, came to our attention and really was for us an opportunity to think about how we use this work to make more connections in our own community. We outside of Boston in a town called Lowell, we have one of the largest Cambodian communities outside of Cambodia. And because our work at Art Simerson is about connecting across difference, we saw this as an opportunity to leverage work and actually engage a community that we didn't have a strong and natural relationship with. And so we brought the project in 2017 and were able to present that work and took that opportunity not only to present that work to but to actually surround it with a number of different engagements that actually started about a year in advance when we actually met and connected with the Cambodian community. Many leaders in that community talk about the intent behind the project and their interest in partnering with us. And that developed into rich partnerships that then expanded the engagement work to include what we call a welcome to Boston event where we have local Cambodian artists actually welcoming the artist from the project to the city. We had several conversations and local presentations in the Cambodian community around the project and really leveraged it as a way to lift up this history and compare it. We talk a lot about our common humanity that we share and many of us in our cultures have had trauma and travesties as this one and not to talk about what separates us but what about these incidents actually bring us closer together. And so that work continues and we've continued to track and partner with CLA and their various projects and very excited about all that comes next for the work. Right. Well thank you for that and thank you for continuing to support the work and framing with this virtual festival and bringing it into the present moment. Amine Well, what about for you? The project in Paris came through Riti because as Riti lives in Paris once he came to us and offered the just a concept, a dream of a modern ritual ceremony and for me I remember the first time we just imagined how could it take place in Paris. He had two aspects very important and very touching for me. The first one is the same as for David connecting the performing arts and the Cambodian community in Paris. In fact his community is very silent. We had a very numerous number of people coming in the 70s just after the genocide and since that time in fact the French people and the other communities don't know so much the Cambodian history, values, beliefs and so on. And for me it was a huge opportunity just to give them a chance to be a part of the global community circle we are used to invite as guests in the Philharmonie de Paris. And the second one was the multiple angles of that project. I mean when Riti was dreaming of his images connected to music it was something very unique because usually you use images and you try to connect and the way he was considering images and music has two major and important actors but not serving one to each other. The poetic power of the images was great because it was a mix of strength and violent images of lack of humanity but also very poetic and you couldn't make your own advice very quickly when you considered his images and the music on the other side was very peaceful and I remember that strange mix and I was totally convinced immediately by this and until 2018 when we hosted the project in May I kept that feeling to have a very strange mix of strength and peace and I understood at the end at the very end when I was totally transformed myself by the project but I realized that the other people were also transformed deeply by the project were changed we are moved that we had a very special experience in clearly it was a way to make peace after the war after the genocide to find to come back to humanity after a lack of a humanity to mix modernity and to pay attention to the tradition but a living tradition not something fixed and a piece of history something like a body you know and for me it was clear that it was another iconic experience showing that the current budget people don't live in their past but build their own history with the others with never a kind of conflict but looking for this I'm not a religious people I don't know if it's right or wrong but I believe in spirit and in human spirit and this show for me was very very powerful for that reason great well thank you for that but and now when pin my understanding is that you have not yet presented the piece but clearly it made sense to to bring you into this conversation so I'm curious why what's your relationship with bunksicle and how does this resonate with with you as someone who's not yet presented the work in this community yes I was introduced in in this project back in 2014 15 season when I act as a consultant to our ministry of culture at that time so they have built a southern east asia committee and they are and they are pushing a project names rainbow so just want to to build the connection with between taiwan and southern east asian countries and in in that case I was introduced to to this project and immediately I was so attract by by by by this program because because as I see the so this requiem of I immediately remember remember so taiwan's own history because so I I remember what was happened in the 40s when when the chinese chinese government earned back taiwan from japanese and unfortunately in around 1948 it was a tragedy happened in in taiwan so we called it 228 so that event was that incident was happened in on the 28th of february and everything was because of this a cigarette so a cigarette seller and so and and she she she caused some some rumor and and and finally so the result was the chinese chinese military came into the town in many towns in in in taiwan and and some so unfortunate happens and so many many many people dies and especially intellectuals and artists so and and when I when I see this project this program this this requiem I immediately think about it because this is also an issue that's so until now so now in 2020 we are still fighting with this historical event so how we we should see this and how we should evaluate and how how can we carry it into our future and this is one part and another part is how we how the aboriginal people in taiwan so live so in in our society so they they have been always uh be underrated and just in the past 20 or 30 years so we started to the artists started to to to know some more about our aboriginal arts performing arts and try to to uh to take take the elements to to to our works and so so for because of these two reasons so I I think this should be should be significant for us to present this work in in taiwan and unfortunately the national kaozhong center for the arts so should be open in 2016 but due to some construction problems as usual and so we we finally uh opened in the october 2018 but uh I as I remember so back in 2016 or 17 so we we did a tryout performance in taipei and in the taipei national university of arts and uh sung by taipei philharmonic chorus and many people was there and so they are so so impressed by by by this work and now so we scheduled this program uh to to be to to be presented in 2022 uh in in our venue in national kaozhong center for the arts right that's great I'm glad that you'll finally have a chance to present the work uh and what's I think was really striking about all three of your answers is that sense of how how so much of the resonances of banks are very specific to your local to your local circumstances and your local histories and your local communities but also really do speak to the commonalities as well especially in relationship to the historical trauma and we are living in a traumatic time right now under the kind of under the uh under the global pandemic of covid uh but it also is hitting uh different parts of the world in really different ways and uh and so again to provide a little bit of a context for our viewers I'm wondering if you could just talk a little bit about what is the current circumstance in your local community in response to covid and now that it's depending on where we are roughly nine months to a year since since the pandemic emerged what was your what was the immediate impact to your work at your art centers and how has that evolved over time and let's go in reverse order and start with one pin yes we are we are very lucky so thanks to to our to the effort effort of our our cdc in taiwan so because we had experience with us back in 2004 so now so people are some somehow we are prepared aware about about the virus and when it appeared so our cdc reacts very fast and the result is that uh and certainly we we have we have we have also experienced a difficult time for performing arts uh from i think from march to may and then we are so we are so lucky that uh already at the beginning of june so the government announced that so now we can do performances and but step by step so first so we have to to do a separate seats and very very soon so already from the beginning of july so we are allowed to sell the full house performances and but even though so during the difficult time in march from march to may or even june so we we we tried many things and thanks to the construction to to our venue the way we in national calcium center for the arts we have a lot of public space which is outdoor but with under roof so we are able to contain our our our program for example so the man three dance program outside and and and also so we we offer we we we turns the live performance tool online activities so already at the beginning of april so we start we initiate a project names a musical offering so we took the famous theme from musical offering by Johann Sebastian Bach and we encouraged people both in taiwan or abroad to make improvise make their own version of this work and put put put them all on youtube thank you and i'm curious and manual on the kind of more general contours how much does that track what has been happening in paris i know that there's there's there's been some opening and closing and i'm curious uh without maybe as much detail on the on the programs but in general what are where are you seeing uh happen within your institution and within uh within the kind of the arts in in france overall uh you're right we stop we start we start and it's horrible since last march um what we learn from the crisis is as french people that we are weak uh most of the time because um it's not easy for us to be unified and to have a consensus when we have a crisis so musicians especially we're um living in a kind of um fragile context because um we lost music on this on stage um it was not easy for them to to be together and to and to ask together to live differently so they spent in march april and may months being separated from each other and then without music and then after three months they realized but it was very late that they have to um resist and to keep music alive and then we work with them and we work together and i think um this crisis learned how to be together more even if time were very difficult and for for the french people it was also something important an important time to show how music can make sense for the society um many artists are waiting for the audience and the people to come to them and to listen to them and in fact they don't know their audience they don't know the people uh attending their concerts and now i think things have changed because um when music was stopped they just had to ask themselves okay uh if i really need to be as a musician on the list of the necessity on the priorities of the nation what can i bring for the people um not only being on stage and offering music but what sense does it make for the others um can i be a part of the of the global efforts and how and they they were not used to think like this before um and i think it was a good um um um consciousness global consciousness um in september october we had more hope after the the summer of course and of and then uh we're back in the tunnel we are still don't know in in one week we can start the concert or not so okay we are back to the tunnel but we kept two symbols and we thought we need messages so so i observed that many concert halls uh wanted wanted to be safe and to be focused on important and major masterpieces or pieces of arts um our choice was to put contemporary arts first and we kept two operas one was in october list by stokhausen it's a crazy uh experience it's just you know it is it's a everybody dream of um i think least one day but nobody achieved in fact because it's too long too expensive but we we just resisted and um we kept um montag it was just uh no it was the instead and that's crazy opera and the the name list was a way to bring light to that terrible moment and the second opera was an opera by du sapin um a recent one uh composed three years ago pentezile it was also a kind of myth and very dark black black and the music was black so in that context we had light and darkness um in the same month and i think it was a way to to be like uh in alexandria um to show something like a candle somewhere a big candle and two candles um and everyone can make sense its own sense with these operas um at the end if i try to to understand what i um learned for that uh pandemic you know better the people now and probably it was also the same thing with bang so-called um during a war during the crisis during your strike during uh something difficult for everyone you know deeply the people after that or during that when life is easy in fact you don't know the people you you know people can be superficial or just um the outside of the people but in the crisis you know inside great well thank you for that and there are a couple of things that you alluded to especially in terms of the the fragility uh of the artist in the audience and some of the themes that i'm going to want to circle back to uh but you opened and you talked uh in the beginning about uh about the kind of the divisions within the society and how people were uh were responding in different ways so that feels like a good segue to go to the united states and to uh to boston so david uh how about how about things sir around everson college sadly um uh the the segue is appropriate in the sense that we struggled with how to respond it's not that we didn't know the answers it's that we struggled to figure out what was the right answer and so we find ourselves still quite compromised in this moment but our um moment of reflection and pivot happened in back in march march 13th i remember the day and we had heard news earlier that things were happening but on march 13th we had to send our entire team home to start working in a new normal um this was a time of incredible anxiety and unrest not only we were trying to keep and maintain the sanctity of the organization and the mission of the organization but we were also very mindful of the impact on our team the impact on our artist and the impact on our audience and so because our orientation as an organization is around civic transformation around being a an uh a useful tool for the city to transform itself we had always had a focus on the people being sort of people centered and so in this pivot we went home and the truth is we thought we would be back in like two weeks so we literally just left everything in the office and in fact we have we st patrick's days in march i think we still have st patrick's day decorations in the office right now um so we literally left thinking that we would be coming back in two weeks and realize that this is going to be taking very much uh much longer time so after we got over the initial shock we started to think about how we needed to pivot and so we as a team engaged um a recovery model which is basically five phases and this gave us a framework because in this moment it was easy to focus on all that we were losing and we were losing a lot we were losing revenue we were losing audience we were losing hope but we did not lose our spirit and so we thought we could actually look at this moment as a time of incredible tragedy which it was and we could also look for the gift in this challenge and we started to think about the triage how do we immediately safeguard our people and our um institution but also while looking at the future so we thought about it like as a hospital like triage which also think about the health and wholeness of the body and the future so we were trying to do the triage but we're also at the same time thinking about a new future we knew that we didn't want to go back to the good old days because in our country the good old days were not good for everybody and so we wanted to make sure that we were moving into this new normal leaving the dead bodies leaving the things on the other side but bringing all that's fresh and new and really reimagining how we can be engaged differently with our community how we can really elevate the artists as gatekeepers of truth words by Paul Robeson keep them at the center of this sort of moment so we actually were in the midst of a show we had to cancel the show we had two more shows in the season we decided as an organization to continue to pay those artists even though we had to cancel a show that was very important to us we know that artists are not necessarily considered essential workers but in our minds they are quite essential and we wanted to make sure that as much as we could that we could support their efforts and then quickly we thought about this recovery model which i'll go through quickly which is basically five phases it's first to clarify the situation that was our triage moment it's then to talk about mitigating so what are the immediate things that we need to do to make sure that people are safe to make sure that our artists are secure to make sure that we can keep things moving and then redeploy is the third phase of that recovery model what are the resources that we've been pointing in one direction that need to quickly shift to in a different direction that's both financial resources but it's also human resources how do we pivot our staff to actually be thinking about a new way of delivering the work that we do then the fourth phase is to reinvent the actual recovery model says that the fourth phase is recover and then the fifth is reinvent and we inverted those because we wanted to reinvent our future before we recovered to it so we thought about okay what is this new normal and how do we navigate and like everyone else pivoting to the digital platform we can talk about more about that and then our hope is that we will be able to recover not necessarily bringing all that we had in the past but recover into this new normal and so our team has really been focused and thank goodness for sound organizational culture that's been able to help us connect and stay connected to each other in these vulnerable moments we are still not able to convene and in fact we as an organization have decided that we won't try to return to live experience until the fall of 2020 and even then we are unclear how quickly people will want to come back into the theater we're also clear that not everyone will come back at the same tempo and so we hope to maintain our digital platform because even though we are planning for live experience at the same time we're planning as a companion but also as a you know a seventh venue for us to maintain that digital presence so that we're having basically two conversations that are going on with our audiences so that's sort of where we are in the moment and it's very unclear we know that the pandemic and that it will be darker days before they become brighter in spite of the fact that the vaccine is coming and so we hold on to hope and we keep moving forward as we deal with these incredible times yeah it's interesting so much of what you say resonates with my experience at the art center at NYU where especially the redeploying we made a very similar decision to commit to an entirely online fall and what we found is the roles of everybody within the organization actually play out differently as you go from an in-person event to an online event what does front of house mean what is the role of an usher what does your production staff do when there's no lighting how do you redeploy the lighting team who within the tech who within the technical production might have marketing experience so I have different different work I think hits different people within the organization in very different ways the other thing that that you mentioned that really resonated was about when you when you led with the fact that you paid out the artists whose shows were canceled and I think that was one of those things that I noticed right away as soon as the COVID pandemic became clear the severity became clear and venue started closing days started the utter vulnerability of the artist community became crystal crystal clear and how precarious people's existences were and not just artists but everybody who makes their living managers agents technicians you know the front of house staff all of them were were caught up in that vulnerability so it leads me to the next question which is about as you're doing the triage and as you're looking at the different strategies there are so many different stakeholders that a performing arts organization is trying to account for so your artist community is one your audiences are one your institution both the parent institution and all of the people that you work with every day as well as your funders and all of your whether it's government partners or donors or so on and so I'm curious building on David on what you said maybe from manual how did you balance all of those different stakeholders and are there other are there other stakeholders that you were really considering in your action plan as you responded very very important question because I think if you compare Boston and Paris the situation the understanding of the situation is very different we always wait for from our government to how to act and we don't look enough for our own responsibility of acting ourselves depending of the general rule but in that situation we were waiting for rules during weeks so in fact we had no choice we have to react immediately we more or less we had to change and to switch as you explained David exactly to to support the artist to save this and this and to keep some resources and to send this and this so in two weeks it was we were ready and we were so surprised to be ready but on the other side we also realized that to have online activities was very important to keep a link between communities but it was very very difficult to to find something human in this new technology because you mentioned institution audience artists they were not used to be together through technology more human more artistic link human link physical link so we had to learn something different a new process and still being human and not being too too efficient and with a lack of humanity um that was something very difficult and still I'm looking for a better situation because I feel that for example my team is somewhere but we came back to our own lives without feeling now how is the global goal spirit experience it's difficult for us to to be together in the same time really together um because you separate so many things when you answer when you write when you talk okay you can talk other some meetings but then you lose the people and you lose the flavor of the collective group when you're in the same place audience artist or team of an institution of course you you feel so much you communicate without words you see there's body language everywhere you have a kind of a breath a common breath this common breath was invisible I don't know if it disappears or not I don't know I still don't know and I also feel many of my colleagues they lost convictions they didn't trust in what they were believing in before and that's a big a huge responsibility to try to find this common spirit back I like it David when you talk about the new normal interesting question the the the the last normal doesn't inspire anyone and we also realize as we we are still dreaming of something more intense more equal more appealing to something not better but different and change but what we want to change not what we are asked to change but to take the responsibility of the change the yes to assume a choice and that's that's I feel something very important for the artist even for the audience now they want to choose because during the crisis you don't know you don't follow the the global rhythm the global energy the global process you are more face to face to your personality identity choice and then uh you have a real part of the process perhaps more than before because we are during the crisis and then um I felt that before the the process the yes the process was stronger and the people perhaps weaker now it's the opposite I think that the conversation about the new normal some people have been talking about returning to normal while other people especially during the during the height of the summer certainly in the US when the Black Lives the Black Lives Matter movement was really was really expanding and expanding globally there was also a lot of calls of saying no return to normal is exactly wrong because that normal was broken and so now there is there is this reinvention of finding new ways and and navigating and identifying where those where those failures were within the systems I think because Taiwan has recovered more quickly and is is into kind of you were talking earlier one pin about the multiple modes in which you're working where you are gathering audiences in person together at full capacity you're still doing online work and as you're at sort of a different phase from the other two panelists I'm curious how you're thinking about which projects belong in what in what context are there different intentions that you have as you're programming now in kind of in the wake of covid how is that affecting your artistic choices as well as the sort of the strategies of how you present something and how you how you speak to your audience that that is different from what you did previously yes certainly even though that's in Taiwan is with fortune that we can do performances as usual but still so the foreign artists are not so free to come here because we keep this 14 days quarantine policy and and it makes our arts markets not so funny because because the arts markets you need some new elements so you you cannot always see the local local groups local programs you you you always want to see what's what's what's different from from abroad but but in now so we are forced to to face this situation so and and we are we are also glad so that we are encouraged and not not only by our safe but also from our supporter what i mean is so our government the ministry of culture so now we we would like to reinvent so how the local groups they can grow up so to grow up grow into this new normal because so we we cannot still live in the old good old days so what's what they always do the traditional opera so what how they always do so now we have to so we are we are forced to to think and to to invent something new and probably with technology and but also from from the spirit so how how we can so how how we evaluate now the word and so where can we put ourselves in in the new world but as a conductor i i still have to say so so i miss the so when i think thought think back friend in march until june so i i was also giving a concert without audience i i miss the the this is not only about the connection between musician for or in my case musician and the conductor but also we want to feel the the breath from the audience i think these all together make us so and make our old life beautiful but i still think so even in a new normal probably in two or three years so finally we will well we still have to to to take take back these old good things but in the same time so we we also so we also open an opportunity to to to find or to search a new possibility and to embrace something new for example the the use of the technology especially now in taiwan so the so the government is pushing very very very hard to to to install the 5g environment and and i believe that so we can do something with this 5g technology to to make that all this a r a r v r stuff so more human i hope and and so so this is what i feel great and and i think that really speaks to you know the magic the thing that we're all missing as people have committed our lives to creating events that bring audience audiences and artists together in a shared space at a shared time and that exchange of breath which is what we live on and it's actually where the risk actually literally lies right now and in a piece like bansakal which really draws from the idea of a requirement or a collective ritual and the importance of that to art as we're looking at substitutes and online and ar and vr alternatives are their strategies and i'll put this out to any of you that you've employed to somehow replicate or create a new version of community a new sense of the presence of the artist and the presence of the audience in a shared space and in a collective experience are there some some things that you've done that that you say yes this is actually a key to how new work might be created in the future going on that you want that you want to pursue even further i'll say that i'll start bill i i will say that we are very much experimenting with all kinds of new forms one of the important activities of our organization is it's supporting artists through residencies and we've done that mostly through our physical spaces we have several spaces and we invite artists to come into those spaces to actually develop you know rehearse do whatever they need to do and in this new moment we didn't want to give that up because we but we went to the artist to say what is it that you need in this moment and some artists as you might imagine quickly said okay these are the tools i need many said i need more time some are still thinking about how they plan to operate in this in this kind of new digital space but we have found some successes and an opportunity to connect artists to communities in ways that we hadn't actually explored it's not that zoom and skype didn't exist pre-pandemic we just weren't thinking about it in this way and for example we hosted a fundraising event where we invited probably 15 artists from around the world who were delighted to be in community with our artists they came to the event online and then we broke them out into small groups at tables with the various staff members as well as artists i'm sorry as well as our audience and they were able to engage in a rich dialogue or what's what there's challenge with what gives them hope and the artists were able to speak with the audience about what they were looking for so there was this wonderful exchange i can't say that a project developed out of that but certainly there's something about that human connection and i would echo what wenpen said about there's something quite powerful about the power of awe and the experience of vulnerability in that moment and how we're opened in that vulnerability to connecting across difference and so part of what we're challenged by and have an opportunity with all the wonderful technology is not how do we look at the tools that we have but what are the tools that we haven't developed yet in our sort of technology world that we as an arts community are on the forefront of we are part of that ideation phase and not the you know recipient of it after it's developed how do we think about technology that don't exist that allow us that human connection even across the digital and i would say that it is not our intent to say we're completely going to digital because again as humans it is our instinct to be in community to connect with each other and that's part of the beauty of what we do is the gathering and the convening and so we certainly want to return to that aspect of it but when we return there we don't want it to look the same in our country and so many of our venues the audience is homogenous and you don't get that brilliant you don't get that exchange that we are so desperately in need of but we're trying to figure out by following the artists instincts around what are the tools that are going to be needed to actually create that kind of connection create that opportunity to develop new work and push the boundaries and ask new sets of new sets of questions and so for the other two panels from Edo and 1pn are there some tools or strategies to use the tools that you've employed that have been successful in trying to transform that experience for your for your audiences so and so it's successful as our so our situation in COVID-19 in Taiwan but I do I do find out something so that's the artists and the art group so so now they are they really they recognize that so some some essential element of what they are doing so because I feel that before COVID-19 so they used to to stay in the room and so we want to compose we want to create new things and and and they are not always thinking about the audience so which means who the people who are who will be seeing their work so they they they usually don't care but through this COVID-19 so I do find out that so now they really care and they want to they want to make steps to to the to to the people to to it to the audience now so as a center for the arts so we supported artists as a lot of artists and especially in a COVID-19 so we supported as a more than 50 50 groups as of artists and now we saw everyone they want to go to the people so not like before before there was a I want I want this I need a room and I need this financial support and I need this uh technical support and we want to we want to create a great job great work but now no so now they they ask for for him can you support me to let me find out more a new new new new audience I want to be close to to the people to the community and so and we are very happy because we have so so many programs with with community and now so they are so they are willing to do to do everything with us so for connecting the community and and I think this is great and and I really hope that the artists they also learn from from from this COVID-19 experience that so so to know what's what's what the essential of arts performing arts and to share yeah and Emanuel what what have you what have you done to tap into that sort of essential that essential role of the performing arts and what's what's actually important essential I don't know but in fact as we lost many concerts we felt so ashamed by this situation that we it was a kind of necessity to create something new for the new normal life and if I take one or two examples we saved in March and we postponed the a new competition for conductors for women conductors for friends it was very important because we don't have that tradition of affirmative action or this kind of to support equality so much because we believe in the quality of the republic which is more or less achieved but we feel it's enough but in fact the classical field suffers a lot and especially composers and conductors are very unequal so we decided to work as we have no concerts more on that community how many female conductors exist how do they work how do they learn how do they talk and I think it was very very fascinating what we knew from that experience because during five or six months we were we devoted a lot of our time to this new project it was the first edition of that competition but also I created also an academy we also created a network a kind of alliance between Romania the US in Dallas or in Baltimore with marinels up and you know usually I don't have that time and so much time to really go deeper in the subject and to try to help so much so it's a kind of example of I hope a piece of the new normal future we can have because especially we don't want to come back to the situation before which is so unequal and its technology also helps us to be more international because usually when we work on these communities and these challenges we are too European or too national but not enough international and global and it's so easy and it's so quick now to do this kind of meeting like today even to work quickly like this and I I feel guilty because I didn't do that before enough because I thought it was so important to come myself and to spend time and to socialize and to know better each other of course it is but in the same time we are less efficient perhaps and less powerful if we work so much from the physical reality sometimes you can be more efficient and direct with the new technology as we do today probably can you imagine if we would have imagined to come to I don't know the all of us to Taiwan or to Paris or to New York wow you wait and you wait and you it's a huge investment and so on so I think it's it's not bad to try something different and to go deeper in our beliefs yeah I think that that's something I've been thinking about a lot the fact that here we are in Abu Dhabi and in Taiwan and in Paris and in Boston and in Cambodia and in New York and we're all having this conversation that we could have easily had through this very same platform a year ago but we wouldn't have done that and I was in I was actually in Melbourne at Asia Topa at the end of February this year and it was just as COVID was emerging there but also all the Australians were talking about all of the fires and their country's been burning and the environmental impact of the kind of work we do and the fact that the discoveries that we're making right now under the most tragic of circumstances are actually offering us opportunities to deal with the fact of the environmental the environmental impact of this kind of transnational work the limitations of borders and migration and visa issues and lots of different obstacles and so there are things that we're gaining we've lost an enormous amount the most important being the incredible numbers of human lives that have been lost to the disease and that's something that we need to hold to the center but also how can we transform how can we be resilient how can we take this moment and hold on to what we learn and what we can grow from and what we can turn into something else and I think that this conversation and this festival has been a good example of that I think Bancicle and the work of Cambodia Living Arts continually speaks to how how trauma can be transformed into art of really profound moving depth and so I want to thank you all for sharing your thoughts I wish we had more time but thank you all for being here with us thank you to Chen Wenpin thank you to David House thank you to Emmanuel Andre and I want to now turn you over to the producer of Bancicle again Rachel Chanoff of the Office for Performing Arts and Film and thank you all for joining me Thank you Bill and thank you to our brilliant panelists who are all such forces in our cultural landscape global cultural landscape so thrilling to hear you all think this through together so and just to echo what Bill just said it's so crucial to find the opportunity in the crisis and what will all take forward I know we've all been talking always so much about access access and usually we're talking about price when we talk about access or do people feel comfortable in our esteemed venues as access but this has been as everybody has evidenced a real moment of instead of bringing people to the art bringing art to the people and I know that's the kind of access that will take with us when this crisis has abated so very interesting thinking thank you all our next event is you'll hear and see new works that were made specifically for this festival and then we'll have a discussion with the next generation of artists so please you know stay tuned for the grand finale of the festival and you can also go to Bancicle.CambodingLivingArts.org to view this panel and everything that's happened at the festival all the panels and you'll also find information about Arts Healing 2020 Challenge and we invite you to join that so thanks again and we'll see you hopefully at more of the festival


Hi guys, some of us will come to this country and will go for medicals. The first time you get to fail the medical, the second time you are taken back for what to call remedical. That is at what to call the medical commission for screening. However, in this case for the second attempt, the medical commission would prescribe what to call a given treatment for you to be taken from the Hamad hospital. However, for the small case for the first one year, they will approve your QID for you to have what you call a QID. But in their statement or no comment, they will prescribe the medication that you are supposed to be taking either for six months or three months in what you call the medical Hamad hospitals or medical health centers. Some of us have made a very big mistake. You are given a prescription of the medical to take in the first year on the first six months, but you don't take the prescription. Remember your QID for was only is renewed after every one year. Some of you begin dodging the medication because you don't want to take the tablets because you want to not want to do anything. Yes, if you don't take that prescription, you will not have what to call a medical report by Hamad. And your medical report will not be pushed to what you call the medical commission. What is the impact for you? What could be the impact when it comes to renew your QID for the second year? They will not renew your QID because your medical report will not be sent to the Ministry of Interior. So, in that case, you'll work for the first year. It's okay. The second time when they get to renew your QID, the Minister of Interior will not accept. They will tell to the medical commission, give us a report for this person that you recommended to take what you call a treatment for this valid six months or four months. So once no report is being made by Hamad, they will not renew your ID. What will happen? The company will say, we are terminating you and will take you back to your country. There will not be any other choice. There will not be any other option. That means that will be the end of you. You will be repatriated, terminated and taken back to your country. So be very careful for the prescription that is being given to you by the medical commission. If they tell you to take the treatment for six months or four months or two months, please take the medication, finish up the medication. Because always the report will be made by Hamad Kumbaga Hospitals or Health Center and you will be pushed back to the medical commission. The medical commission will push that medical report back to the Minister of Labor and also back to the Minister of Interior. Such that in your system or on your QID or under your passport, it is captured that you took the treatment and there is no objection against you. Hope I've tried to share something for you.