Hi everyone, Joe for Jaspy's casebreaks.com with another fanatics underwraps, autograph baseball break, three boxes, break number 32, one spot gets you nine, one spot's gonna get any and all multi-sign at baseballs. Big thanks to this group right here for making it happen, and let's copy that list some more times here. Two, three, four, five, six, seven, eight, and nine. There you go. Now let's copy everyone's names there, put them into this list. Oh yeah, Arthur, who's better? And there's the players right there into this list, and then we'll put the results of the randomizer in that tab right there. Let's roll it, randomize it, two and a three, five times for names and players. Good luck. One, two, three, four, and five. Got a couple eugenes all the way down to an Eric. Two and a three, five times for the players. One, two, three, four, and good luck, fifth and final time. After five, we've got Scott Brochus all the way down to Buster Posey. All right, so I'm just going to show you the list as is, and then we'll alphabetize by your first names, the first column, and then you'll see all of your players grouped together. Oh, South Prez's son is a catcher, checks out. But is your son better than him? Or is South Prez's kid pretty good? I guess he's had the genetics. All right, let's sort by your first names now. So Christopher, there are your players right there. Eric's got a ton of players. Here's that group, all the way there. Some more players all the way there, and there are your last spot mojo players there as well. Nice, thanks Eric. Eugene, you've got a lot of players too. That group, you've got the multi-signed baseball spot. Nice, Kevin, there are your group of players. Nice, Oliver, boom, there you go. Paul, and Peter. There you have it. All right, we're going to pause the video. We're going to see if there's any trades, and when we come back, we'll have the break. So stick around, BRB. All right, welcome back, ladies and gentlemen. No deals were done. So let's get into it. Let's see what we got here. We're going to play America's favorite game, Who Am I? I'm going to give you some clues. If you try to guess who the player is inside. Oh, we got a black baseball, gold stitching. And probably gold ink. Yeah, some gold ink. All right, this is a player we've had before, but Who Am I? 26-year-old second baseman shortstop, lifetime 265 batting average, 98 home runs, their engine 10 runs batted in since 2018, and a two-time All-Star. My first and second year. Haven't had an All-Star appearance since, but I think he had a decent year last year. He slashed about a 257, 310, 451. He had 24 home runs, 76 RBIs, not too bad. Yeah, Gilo, Glaver Day, Glaver Torres. Nice. Got all the, all the stickering there too, the MLB hologram sticker, the fanatic sticker, the card inside. Glaver Torres is going to go to Glaver Day like a good Glaver. Torres is the Eugene with Glaver Torres. Another one. We got some odds right here too if you want to take a look at that. Oh, we got a gold baseball. I don't see the name. All right, now I see the name. This is a current baseball player and kind of a highly touted prospect. I don't think he's played a Major League game yet, but he's a right-handed shortstop born in Carrollton, Texas, selected by this team with the first round, sixth overall pick in a draft a couple years ago, 2021, $6.7 million signing bonus. Is he going to be, yeah, I think he's been kind of crushing it in the minors. When's he, what's his, uh, when's he supposed to be called up? He's 6-2, 190, and he is eyeing his debut this year. Yeah, he's, he's in the MLB pipeline ranks as this team's second best prospect behind, Corbin Carroll. Yep, Jordan Lawler. Diamondbacks have a good young crop of players coming up the ranks. This guy's one of them. This is going to go to Eugene with another one. Eugene and another specialty baseball, gold baseball. It's got the Diamondbacks logo on it, which is really cool. Any signs? That must be this way, right? You can see the J and the L right there. Little J law. There's the MLB sticker, but no fanatic sticker. Some of them, not all of them have those. All right. There you go, Eugene. Another one for you. Is it going to be a clean sweep? Let's see what we got in here. This one is not a specialty baseball. I thought we might go three for three on that too. All right. We got a retired player this time. It'll be more clues to give you. All right. He's currently 52 years old. He's a former catcher, switch hitting catcher and a right-handed thrower had a lifetime 273 batting average, 275 home runs, 1065 runs batted in play for one team my entire career. Was a five-time All-Star, a four-time World Series champion. That might give it away. Five times silver slugger. This number retired by this team and born in San Juan, Puerto Rico. Puerto Rican switch hitting catchers with five World Series titles. Yep. Oliver's got it. It's Jorge Pesada. Hip, hip, Jorge. There you go. You got World Series champ right there. There is his auto. And that is going to go to, that goes to Eric Klicks. Eric with the Jorge Pesada. Eugene went two for three. One for three. Not a bad day for Eric Klicks. There you go, gang. Thanks for watching. Thanks for breaking with me. I'm Joe for jazby's casebreaks.com and I'll see you next time for Who Am I?


L'Envoix of Courage This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Courage by Ruth Ogden. L'Envoix. L'Envoix. You may not know what this L'Envoix means. Neither do I exactly, only nowadays poets who try to make English poems like French ones put it at the head of their last verse, so I have a notion to follow their example and put it at the head of this last chapter. As to its meaning as the poets use it, I find that even some pretty wise people are not able to enlighten us, so we'll have it mean just what we choose, and say that it stands for the winding up of a story by which you learn what became of all the people in it. At any rate, that's what this chapter is to be. We'll press this mysterious little L'Envoix into service in lieu of such a long title. Confidentially, however, I have an idea that it isn't the thing to wind up a story at all, that to give you merely an intimation as to what probably happened to Courage and to leave you wholly in ignorance as to the others would be far more in keeping with modern story telling, but why try to be modern unless it is more satisfactory? Then I imagine you would really like to know something more of the friends we have been summering with through these eight chapters, and besides, if some day you should yourself go driving over the South Shrewsbury draw, you would naturally expect to at least have a chat with David Starr, feeling that he was a fixture whatever might have become of Larry and Courage and Sylvia, but alas that cannot be, and you ought to know it beforehand. The same little house is there, and in summer weather the same boxes of geraniums, verbena, and portulaca line the rail in front of it, but the old man at present employed at the draw is as much a stranger to me as to you. It is several years now since that eventful night on the bridge, and all this while Courage has been living in Washington Square, for it had been easily arranged with Larry that she should make her home with Miss Julia and Mrs. Everett. Indeed it had proved an immense relief to Larry's anxious heart to know that her future would be so well provided for, and it all came about at the right time too, for the very next winter Larry died. He had not been feeling well for a few days, and Sylvia, who had been left behind at the bridge, wrote for Courage, and Courage losing not a moment came in time to care for him for two whole weeks before he passed away. His illness was not a painful one, and now the complete darkness had closed in about him, he had no great wish to live. The many mansions of the Father were very real to Larry, and the eyes that were blind to all on earth seemed to look with wondrous keenness a vision toward, the land is very far off, while to have Courage at his side in this last illness summed up every earthly desire that remained to him. He was buried in the cemetery over at Shrewsbury, and it was not long before a grave was dug for faithful Bruce, who seemed to lose all heart from the hour his master left him. When Courage went back to Washington Square, the day after the funeral, Sylvia went with her to assist in the care of a blessed Everett baby that had lately come to gladden everyone in the home, and Sylvia was overjoyed to be once more under the same roof with Courage. For a year or two after that David continued to keep the draw living alone in the same way as before, which must have seemed a more lonely way than ever with Larry out of the world, and Courage and Sylvia quite the same as out of it as far as he was concerned. But finally David had to give up. The rheumatics, as he said, got hold of him so dreadful bad that there was no help for it but that he must just go and be beholden to his daughter, which, as you can imagine, must have been no little trial to independent old David. And Courage, brave little Courage, just how does the world fare with her? Well, she is quite a young lady by this time, with a beautiful auburn curls twisted into a knot and dresses that sometimes have trains to them, and yet she is just the same Courage still. It seems to Mr. and Mrs. Everett as though they could hardly have loved their own little bell more. While to Miss Julia it seems as though she could not possibly live without her, and no one who truly knows Courage wonders at this for a moment. As for Courage herself, she looks up to Miss Julia with all the st. like adoration of the old sowing school days, and Miss Julia is every wit worthy of such loyal devotion. At the same time they are the best of friends. During these five years of daily companionship Miss Julia has been unconsciously trading Courage to be just such another noble woman as she is herself, and so they have been constantly growing nearer and still nearer to each other if that were possible. They love the same books, they enjoy the same things, and now that regular school life is over for Courage they have the happiest sort of time together day in and day out. Often indeed they have a very merry time of it, largely accounted for by the fact that Courage, being well and strong as well as young, is often brimming over with a contagious buoyancy, sometimes called animal spirits, but to my thinking it deserves a better name than that. Everywhere that Miss Julia goes Courage goes to, that is, if she is wanted, and seldom is she not, and one of the places where they go most frequently and never empty-handed is to a great hospital, where since little lame Joe died, Mary Duff has been one of the sisters who give their lives to caring for sick children. Courage even has a class next to Miss Julia's in the sewing school where she used to be a scholar.  One Saturday afternoon when on her way to the chapel she noticed two rather unkempt little specimens in close conference. Yes, that's her. She heard the smaller girl exclaim as she neared them. And ain't she sweet and stylish? Well, she used to belong down here somewhere, but now she lives in a beautiful house with Miss Julia in Washington Square. Like is not, she didn't do nothing to deserve it either, said the larger girl, obviously, with a sullen shrug of her shoulders. Didn't do nothing? Well, perhaps you don't know that she just saved Miss Julia's life. That's something, ain't it? And with the colour mantling forehead and cheeks, Courage hurried on, grateful for the championship of her unknown little friend. End of L'Envoix. End of Courage by Ruth Ogden.


Let me begin by thanking the Commonwealth Youth Chorum for the invitation to this webinar. Let me also introduce my organization, the Commonwealth of Learning, which was established by heads of Commonwealth government to support member states and institutions to use distance education and technologies for expanding access to education and training. Our headquarters are in Vancouver and we have a regional office, the Commonwealth Educational Media Center for Asia, in New Delhi. We work in 54 countries that cover all regions of the globe. Today I will address the topic education, the new normal. What will this new normal be? The Commonwealth as you know has a population of 2.4 billion with 60% of them under the age of 30. So it's a young Commonwealth in need of education and training. Youth unemployment in Commonwealth countries at 17% is higher than the global average. As the impact of COVID-19 unfolds, this is expected to be further exacerbated, particularly for women. When the COVID crisis struck and campus institutions were forced to close with implications for millions of students, open universities remained open. There are 31 open universities in the Commonwealth that have an enrolment annually of over 5 million. The scale that open universities achieve drives down the costs per university graduate to be less than half of what their campus counterparts pay. So the new normal will include greater attention to distance learning, which has developed strategies to reach a diversity of learners, including the most remote and marginalized. And research does show that there's no significant difference between distance and traditional classroom instruction in terms of learning outcomes. And yet there is a lingering perception, especially in the developing world, that distance education is not as effective as class-based learning. For example, when universities had to go online, students in South Africa and Zimbabwe took to the streets in protest. The new normal will see more uses of technology. The Open University of Malaysia has already developed chatbots to provide personalized tutoring facilities to its learners. During this crisis, virtual reality was being used in the US to train nurses, while simulations have been used for technical vocational educational training in Shanghai. Now, assessment has been a challenge during this crisis. And AI-based assessment provides feedback to learners, teachers, and parents about how the students learn, the support they need, and the progress they are making. Micro-credentials are leading to the possibility of offering shorter, just-in-time courses that can be taken at one's own pace or time. The credentials can also be transferred from one institution to another. So more flexibility will be a key feature of the new normal, including the use of AI-based proctoring tools for online assessment. Today we have a vast resource of open content, or OER, that we can adopt or adapt according to our needs. So what are the benefits? A study in Antigua and Barbuda showed that not only did the use of OER save costs for the students, but also improved learning outcomes. Bola Crisis hit West Africa. A few years ago, we sent OER for secondary schools to Sierra Leone for printing and distribution to students while they waited for their schools to reopen. Today there are hundreds of OER repositories, and these are especially valuable during this crisis when countries are looking for quality content right away. The new normal will witness a greater focus on increasing access to affordable quality education through the use of technologies and free resources. In the new normal, we will need to pay greater attention to climate change. Distance and online learning have a lower carbon footprint called conducted a study in Botswana, which found that the average carbon footprint of the distance learner is one-third compared to that of a campus student. The new normal is going to be a blended environment, a mix of online and face-to-face teaching for a long time to come. But how many students have access to electricity, computers, connectivity? With only half the world's population having access to the Internet, how do we ensure that no one is left behind? Google's MOOC for development provides simple technology solutions such as a basic mobile phone interface, social media integration, and delivery in low bandwidth situations to reach remote communities. We offered these tools in a course for gardeners who learned horticulture in their local language through their basic mobile phones. All developed Aptus, a low-cost offline virtual classroom that provides learners in remote locations with access to digital resources. It's a server that works with a solar charger and a wireless router and costs approximately $150. These boys on a beach in Fiji can download content on their mobile devices without being connected to the electric grid. The new normal will require innovations and a more open mindset to adapt to changing realities. So as students, what can you do? First, develop skills to learn online and become self-directed learners. Second, engage in group learning activities to remain connected with peer groups and with teachers. Third, develop critical skills to understand privacy issues, security issues, and the negative impact of misinformation in a digital world. Let me offer you a great opportunity to develop all these skills and many more free of cost. Under their workforce recovery program, Coursera has made licenses available to call for common world citizens. Each participant has access to 4,000 online courses from top universities in the world, other institutions as well, and can complete multiple courses by 31st December 2020. Coursera's help desk with volunteers from around the Commonwealth are offering academic and administrative support to the registrants. You too can benefit from this generous call Coursera offer by sending a consolidated list of names and email IDs through the Commonwealth Youth Chorum to call at this email address which you've seen on the screen. We will then invite the nominees to join the program and start on courses of their choice. I think this will be a perfect way of preparing for the new novel. Thank you.


Today, we're going to continue talking about the Romanesque. And I just want to show you a couple of images from Clooney. This is the Church of Clooney over here. And next to it is some of the carving that decorates the facade of the church. One thing immediately jumps out looking at both of these images. And that is that they're beginning to behave on a symbolic or representational level in a way that's quite different from the architecture that we saw before. The church, for example, becomes a model for Jerusalem on Earth, so that there's something about the collection of towers. There's something about the geometry of the radial apps. There's something about the basic forms that begins to become instructive. And as medieval architecture advances, it becomes more and more the task of the church to become like a living Bible. People are illiterate. People can't read. People have no access to books, even if they could read. And so part of the job of architecture is to instruct and inform. It does so in various ways.  That's one level of representation that gets embedded into the architecture of the church. And another is geometric or numerological. And some of that's going on in the Clooney Church. It's a bit more abstract. And maybe not everybody gets that. In fact, the messages in ecclesiastical architecture were geared toward different audiences. There was the kind of humble peasant who doesn't know anything other than it's bad to be eaten by a devil. And there were the more highly educated people who would begin to understand these other levels. But this figuration is pretty surprising. And let us just for a moment compare it to the deriferous by Polyclitus, which is really one of the masterpieces of classical Greek architecture. You really can see a strong difference in the attitude toward the human body here. And if you can't, walk out of this room immediately. The deriferous is all about the ideality of the form, the ideality of the figure, the perfection. Beauty consists of many numbers. So not only is the deriferous this fully plastic figure turning with Contrapasto in space, but the proportions of the figure are emblematic of a kind of divine order. And we get this idea of the divine order again with Vitruvius, the Vitruvian man being reflective of the circle and the square. A very different thing is going on in this sculpture from Clooney. It's almost as if the human body has no existence in the space of the world, the space it occupies is an abstract, flattened space. It's almost as if the human body, instead of becoming this vehicle that communicates beauty and ideality, is some kind of burden, some kind of rotting carcass that one is forced to carry around. And that was a consistent attitude in the Middle Ages. For example, monks would plant gardens in the monasteries, and that was a typical thing to do, but they didn't plant flowers necessarily. They planted bitter herbs. They planted thorny bushes so that when you walked through the garden, the thorns would scratch your flesh and remind you to concentrate on spiritual matters and not to preoccupy yourself with the physical. Likewise, the bitter herbs would be revolting to eat, and that was part of the idea that you abnegate the flesh in the attempt of advancing the spirit. And these are just some more little carvings from various medieval churches. And you can see these kind of, I mean, they're sort of wonderful on one level, but they're very, very removed from the conception of the human being as someone free and liberated and exemplifying an ideal condition. This little guy seems to be trapped, trapped in the architecture or trapped in the space of the world.  And I don't know what this guy is doing, but he's not a happy camper. A lot of things going on during the Middle Ages. And one thing that we touched on last time when we were discussing the architecture of Islam was this whole business of the Crusades, which a lot of the reason that they had the Crusades, well, there were a number of reasons that they had the Crusades, one had to do with the advance of Islam and this increasing pressure put on Byzantium, this seat of the Eastern Empire, by all the orange forces, which are the forces of Islam coming in there. Another was a desire to get penance, that if you perform this act of warfare for God, you will go to heaven more quickly. But another was actually economic, that you have the opportunity to raid a country and carry away the spoils of that country. So that would be something to do. And then you also had this problem of the second son or the third son, that in order to keep the estates intact in medieval Europe, you didn't divide them up among all the children, but the eldest child got the property and the other children had a few choices.  And this is a good thing that soldiers can do. These are just some paths showing you the series of crusades that took place during this period that more or less correspond to the Romanesque period and the beginning of the Gothic period. You can see that there's quite a lot of movement from Central Europe and France coming down through the Mediterranean to the areas around Constantinople. One of the big things they did was lay siege to Jerusalem and captured Jerusalem, reclaim Jerusalem for the Christians, for example. Another thing they did was capture Constantinople. This was something the Venetians did. The Venetians were great boat builders and they had actually rented out their fleet to a crusade and then the crusade wasn't going to pay them. So the Venetians turned the fleet on Constantinople, filled it up with treasure and brought it back to Venice, which is a sort of bad thing to do because Constantinople, in fact, was a Christian city. So if the stated purpose of the crusades was to somehow spread Christianity and halt the advance of the Moors into Europe, laying siege to a Christian city was a surprising thing to do. Women took part in the crusades as well. Eleanor of Aquitaine rode in the second crusade. But at a certain point, people sort of get bored with the crusades. I'm not sure why that is. Let me say I would be bored with the crusades because it was not all positive. You were getting things like rats jumping on your boats when you were coming back from the crusades and docking in Pisa or docking in Venice and the rats that would jump off the boats would spread diseases like the Black Plague, for example. You also had Genghis Khan coming in from the east with the Mongols and that gave you too many things to think about. Also, you began to have a greater development of commerce just among European cities, of commerce, of trade, of the growth of the cities, the growth of metropolis. So anyhow, during this period, there was a lot of influx of new ideas, new wealth and other things. But let's look for a moment at the Romanesque, which goes through many manifestations. This little church in Spain is an example of an early manifestation of the Romanesque. And it's really tough. And by tough, I mean, it is an architecture that really defines itself in terms of the wall, in terms of these simple geometrical masses, in terms of these tiny little punched windows. The buildings almost look fortified. Some of the elements that you see here and that you see in a lot of these early churches are blind arcades. So you have this thing that looks like an arcade, but you can't actually occupy it up on the top and barrel-volted space on the interior of the churches.  They almost look more like fortresses than like churches. Here's another one, also in Spain, the San Viscenco. Barrel vault down the middle, really tough elemental geometrical masses. It's sort of beautiful stuff, actually, in its clarity, in its simplicity of form. And it was this kind of massing that was very appealing to architects in the 19th century, say, when they're trying to figure out how they could clarify the styles that they were dealing with, how they could make something that was less based on just collecting ornament together and more based on something more fundamental. We'll talk more about that next quarter, just remember the massing of these buildings. What do I mean by massing? Does anybody remember that word? Yes, it has to do with the solid of the exterior, but in what way? It's the basic photonic solids. It's the volumes that comprise the building. So when we talk about massing here, we're not talking about surface ornament. We're not talking about the plan. We're talking about how these different volumes go together to create an architecture. By the time we get to the pilgrimage churches, which we looked at briefly last time, the simple early Romanesque churches become elaborated and they become elaborated toward programmatic ends. The churches now have to accommodate large groups of pilgrims. They have to accommodate the circulation of these pilgrims through the church and around to venerate all these different little altars. So you get often double aisle or if not double aisle ambulatories that wrap the apps and radiating chapels at the perimeter. And so the form becomes more complex. The raw simplicity of the form of this first Romanesque moment becomes elaborated, but the attitude toward massing, toward simple geometrical forms that come up together to create a whole still obtains. And we look briefly at Clooney, which is just a fragment, but in its original state, it looks as though you could make it out of children's blocks almost. The massing is so clear. But let's look here at this facade of Saint-Foy that we looked at last time briefly. In what way does this facade seem Romanesque to you? Does anybody have a take? Yes. Okay, you have to use words if you want people to hear you, but I'll repeat what you said because I think the acoustics only work one way in this building. He said it's got a West Works, which is this big kind of inflated in scale billboard like facade that we have on the church, flanked by two towers, which is typical of the Romanesque. And we have a punched windows, small punched windows in here. What else do we have? Yes. Yeah, we have a rose window, which is a feature that is initiated during the Romanesque period and becomes very popular throughout. When we look at the plan, the cutaway axonometric, we can begin to see that this must be one of those little pilgrimage churches because we have our radiating chapels and so forth. And we have a barrel vault. This is Saint-Sanin in Toulouse. What kind of church does this seem to be? Does it seem to be a pilgrimage church, for example? Yes. It's similar to the Saint-Foy church that we looked at before, but a lot bigger in scale. It's a giant church with the same kind of composition of parts. We have a west work, we have a Latin cross plan, we have radiating chapels. And in terms of massing, you can really understand this thing as being assembled from kind of simple blocky constituent parts. So over here is just a little list of all the kinds of things we find in a church like Saint-Sanin in Toulouse, a Romanesque pilgrimage church. Latin cross plan. Does everybody know what a Latin cross is? Yes? Okay, it's a cross that's elongated on one side and shorter on the other sides. And why do you think it's elongated? For circulation and also for liturgical processions, that part of the way the rite is celebrated involves processions of people coming down the nave. So you need to have the longitudinal church. Good, we have aisles. Everybody know what aisles are? We have aisles in this room. I hope you know what aisles are. We have the nave, which is the broad expansive space in the middle, transept, radiating chapels. The choir is an area within a church that the monks can go to, to be separated from the laity.  We have a crossing. This point where the nave and the transept cross in Saint-Sanin get celebrated. And if you look at the three-dimensional expression of the building, it gets celebrated with a tower. In terms of the development of the superstructure of the building, the interior appearance of the roof, it's also sectionally differentiated. We see these heavy piers coming down and that marks extra structure needed to support the tower. Good, we have a crypt.  It's where zombies live, for example. Or a crypt is kind of the basement of the church and the crypt becomes a place where many of the important church figures or royal figures are buried. It might have a little chapel underneath there too. Crossing pier, what's a pier? Well, I'll tell you what a pier is. A pier is not a column. The column is fairly slender and a pier is composite. So we have the crossing coming down on these thickened elements. And if we could see what those thickened elements look like, and we can in this image here, they're not slender columns, but they're almost like pieces of a wall that have columns engaged in them and that's a pier. Portals, portals mean doors and bays. Does anybody know what a bay is? Yes. Well, an arcade would have bays, but an arcade is not a bay. Exactly right, it's the space between two pieces of structure. So in an arcade, you have a rhythm of columns coming down or a rhythm of piers coming down and the space between each of the structural elements is a bay. So we have various bays coming into play here. Here's a section through Saint-Sanin and even though this is a large church, it still has most of the elements that we expect to see in the section of a Romanesque pilgrimage church. Barrel vault, galleries up above, where you can circulate if you happen to be a monk, looking down at the rest of the church and these kind of stout piers that support the whole thing. This is Saint-Foix-en-Conc, which we've looked at before. Again, we have barrel vaults. We have a Latin cross plan. It's a basilica and we have a crossing that here too gets celebrated. I don't know how well you can see the dotted lines in there. I think pretty well there's an octagon that's imposed within the crossing there so that those lines represent the reflected ceiling plan. So something is happening up above that creates an octagonal space, probably some kind of octagonal dome stuck inside the crossing. And in fact, look, we can see it right over here. There's this little octagonal dome at the crossing to mark the importance of those two elements coming together. Also in Saint-Foix, we have this elaborate program of sculpture and this is a way that the church becomes a living Bible. You go there, you look at this stuff and it's the last judgment. So it's extremely hierarchical. The space of the tympanum of Saint-Foix is not a representational space of nature and tympanum is this field above the doors and it can be rounded like it is here in Saint-Foix. It could be triangular, it could have different shapes. So the tympanum is simply this half-circular space. It's really hierarchical, it's a banded space. The scale of people changes based on how significant they are in that order. So Christ is giant, people are small, sinners are smaller than angels. It's almost like Egypt. It's almost like the same strategy of representing here that we saw in ancient Egypt where hierarchy and heretic significance are stressed over any attempt to make a naturalistic representation of the world. And this is the tympanum of Saint-Foix and in the back this is what the radiating chapels look like. And I think Saint-Foix is so great looking because it's so simple and it's not a church in a major city like Saint-Sanin, which is in Toulouse, or Santiago de Compostelo, which is in Santiago de Compostelo. Because those churches are in major cities, they kind of got added on to, they kind of got transformed. And when you look at them, you don't get a very clear understanding of how they would have looked during the Romanesque period. But with Saint-Foix, you get a very clear sense of it. And here's the interior of Saint-Foix with its barrel vault. This is a church that has a slightly different expression in so far as the entire façade seems to be covered over with these blind arcades and that patterning begins to embellish the flatness of surface that we saw in some of the earlier Romanesque churches. But in terms of massing Notre-Dame Le Grand is doing exactly what we expect it to do. Really tough cylindrical towers, conical tops, and so forth. Beautiful, round, just as we would expect it to be. Simple massing. This is the cathedral in Durham, England, which has a lot of the same properties as these French Romanesque buildings that we were looking at. And Romanesque really proves to be an international style. We saw examples of it in Spain. We saw examples of it in France. We see examples of it in England. And this is quite different than how architecture operated, let's say, 500 years before or even 200 years before where regional styles tended to create great differences between the appearance of buildings in one country and another. So Europe is getting unified. And one of the things that unifies the architectural styles is the movements of the masons. You have stone cutters, master masons, carpenters as a skilled workforce and they're highly, highly desired. So unlike most people in the medieval period who were tied to the land, who were indentured to the land, futilely attached to the land that they were born on, the masons could travel. You probably heard the word freemason, but you probably not wondered, well, why are they free? And the origins of the word freemason simply means they were not tied to the land. They could move from one construction site to the other construction site because their skills were so valuable that they had that opportunity to move. So already in the Romanesque period, we're beginning to see buildings that are recognizable as Romanesque across Europe. There's a particular brand of Romanesque that happens in Germany. And that could be called, and it's pretty early, Autonian. And this architecture, the rulers of the Autonian Empire considered themselves to be direct heirs to Charlemagne and considered themselves to be holy Roman emperors in the same way that Charlemagne considered himself to be holy Roman emperor. This is Charlemagne's kingdom when it got divided up with the Treaty of Verdun into three parts. And this purple stuff over here is more or less the extent of Otto the Great's empire in 963. So it's still quite extensive, not quite as extensive as Charlemagne, but still quite extensive. So I'm just showing you the monastery at Saint-Gal to remind you of the kind of forms that the Autonians would have been looking at. This is a crummy drawing, but one thing you can see is that there's a basilica with a transept, but there's something weird about the church at Saint-Gal. Does anybody see anything weird about it? Yes. Well, it's a terrible drawing, is all that I can say. So if you wanna look at this drawing, this is a beautiful drawing, but it's completely impossible to read it. What I'm looking for is it has two abses. In the churches that we've been looking at, the early Christian churches that we've been looking at in Italy and also the pilgrimage churches that we've been looking at in France and Spain, there tends to be one abs. But at Saint-Gal, we have two abses. And so the church functions in a kind of different way because of that. Another model that Charlemagne would have looked at and through Charlemagne the Autonians would have looked at are the relics of Rome, of Roman civilization that are scattered around German territory. And this is the Aula Palatina, the late Roman building in northern Germany in the town of Trier. Severe looking thing, the big apps, lots of tough brick wall architecture with a banding of round headed arches, flat ceiling and transverse arches. Transverse arches are these planar surfaces with arches cut out that begin to march along through the space. This is the Speyer Cathedral, which is an example of a Autonian building. And the section or let's say the interior space of Speyer looks almost exactly like the interior space of the Aula Palatina. These long, arcuated surfaces and transverse arches and a flat ceiling. And here's another Autonian church, Saint Syriacus in Guernarod. What I really like about these Autonian churches is that they really seem even clearer in their geometry and their kind of severe play of volumes and massing than many of the others that we've looked at. And they also have this really strange quality, this kind of double-ended quality of the abscess pulling out in both directions. So this is Saint Syriacus. And over here we see two more churches, both of which look pretty similar, the Cathedral in Trier and the Speyer Cathedral. Fabulous. My favorite of all the Autonian churches and I think probably the one that's best preserved and gives you the clearest sense of how this architecture works is Saint Michael's Church in Hildesheim. This drawing over here begins to break Saint Michael's into all of its constituent parts so that you can begin to see everything that you expect to have in a Christian church only more so. And by that I mean you have a nave, you have aisles. Oh, two transepses, oh, two absces and a very, very clear disposition of parts. Notice in this section that this double abs begins to have sectional value and not simply planometric value.  Here's a interior view of Saint Michael's transverse arches, fabulous, marking out the space. Polychromatic stonework, kind of like the stonework that we saw in the palace chapel in Aachen, Charlemagne's chapel. So there's a lot of quotation of the architecture of the Carolingian period as well as quotation of the architecture of Rome. And we looked very, very briefly at Pisa last time but I wanna say one more thing about the architecture of Pisa. Because when we looked at it last time we said the massing is congruent with the aspirations of Romanesque architecture but the extremely elaborate surface articulation seems strange, it seems strangely out of place. And one reason for that could be that Pisa was a port city, Pisa had a fleet, Venice had a fleet, Pisa had a fleet and these were two places that ships came in and out of during the Crusades, ships came in and out of just for commercial value bringing silk back from the east or spices back from the east. So there was a strong influence of this pattern making and this screen making that we saw last time when we looked at Islamic architecture. Hence this screen making and pattern making becomes something that is agreeable to the taste of the people of Pisa and creates the façade. So geometry is not neutral. Geometry already back in the time of Plato, already back before Plato in the time of Pythagoras was thought to connect to cosmological meanings in a way that was readable, that was clear and was decipherable. And this is a medieval image of God, God the Geometer. So that God's method of creating the world is to use geometry. It's this sort of wonderful swirling chaotic unformed substance that through geometry is made orderly and divine. And just as an aside, this is a picture of a fractal that was created in 1985 by Benoit Mandelbrot. And it kind of looks like these swirling weird chaotic stuff that this medieval image maker had found to make. Geometry isn't simply descriptive of physical things on earth, but it's also descriptive of the shape of heaven and the structure of heaven. Thomas Aquinas was a philosopher of a way of thinking called scholasticism. And scholasticism offered a very highly structured model of how to organize your thoughts, how to organize all categories of information in a kind of matrix that made things understandable. I don't know if you've ever heard people ask the question how many angels can dance on the head of a pin? Is that something you've ever heard before? This is a famous question that Thomas Aquinas solved. He had enough rigor in his method of question asking to begin to even know that, which is unbelievable. So if you look at these two images, they're both images that represent the great chain of being, a belief that life was highly hierarchical and not simply life on earth, which is what this diagram shows you with peasants down here and knights over here and lords up here and the king here, but also going all the way up to the sky.  And they're all of these different hierarchical bands of angels and archangels and cherubim and seraphim.  But notice how even the planets are hierarchical. The moon is beneath Mercury, which is beneath Venus, which is beneath the sun. These people are not good at astronomy, but they are good at making sense out of things. For example, another thing that's pretty cool are these markings on the side over here. This side is pretty straightforward. Same, same, same, same, same. In terms of the geometry that organizes them. But over here on the side ratios are being made and these are golden ratios. So the relationship of the first mover to Saturn is in a golden ratio to Mars to the moon. But you probably all knew that already. Everybody knows that. I'm just illustrating this to show you how strongly hierarchical and how strongly structured the worldview was. During the medieval period, classrooms began to form in multiple ways. Within the large system of masons, you had a formalized apprentice master system and the masons would have to learn geometry, mathematics, but also Latin because you have these free masons traveling around from one city to another city to another city, they had to communicate with each other. They had to be able to read the lodge books. But in addition to that kind of practical teaching that was going on, you also had universities begin to form. The university in Bologna and Oxford and Cambridge all date to this period. There was a rise of a merchant class and there were rivalries among these different towns. As people traveled from one town to the next, they could see the condition of the different cities and they sought to best their neighbors by having a bigger cathedral, by having a more glorious decorative program inside their cathedral and so forth. And so as the cities become more and more prosperous, building starts happening faster and faster and faster. It's kind of funny, cities that are like 11 miles apart will each be building a giant cathedral. It's like Worthington trying to get a better cathedral than Westerville. Who will have the more magnificent cathedral so that people can travel around and be amazed by all of this? And so this moment of affluence and increased urbanization and record building cathedral construction campaigns is connected to the Gothic period. And you probably all know what the Gothic is. There are a couple of qualities that help us identify the Gothic.  But there are probably some other things also. If we think about Gothic architecture. And so I wanna introduce a couple more German words because nobody liked art history as much as the Germans during the early days of art history. The words here are zeitgeist and kunstvollen, zeitgeist. Does anybody know this word? You maybe heard it in 200. Anybody know it? Yes. The spirit of not the people. That would be volkgeist. This is zeitgeist. Yes. No, that would not. That would be orkgeist. Yes. Thank you. That would be the spirit of the times. Did you know that or do you just know German? Good for you. Knowing German is a good thing. Zeit means time and geist means spirit or ghost. So let's hope it means spirit in this case. So the spirit of the times. There was an idea that during any given historical period there are certain collectively held values and collectively held aspirations that can't necessarily even be tied to single individuals. They just well up and they can't be stopped. And so a subset of zeitgeist is kunstvollen. German speaker, you wanna take a stab at kunstvollen? Okay. Kunst is art, volen is to want. So kunstvollen is the will to art or the will of art to find its form. And these are terms that were thrown on around a lot by people like Hegel with idea of zeitgeist but also art historians who were directly influenced by him. And I'm thinking of a, I called Wolfgang, who wrote a book that is beginning to talk about the changes in style. And he's talking about Gothic. And he suggests that there is a zeitgeist. And part of the zeitgeist of the Gothic people is they just like things pointy. They can't get enough pointy stuff. And that sounds kind of crazy, but look at your shoes, look at your car, look at your glasses. They probably all kind of look alike. They're maybe not quite as pointy as this stuff but they probably have certain stylistic attributes that mark them as artifacts from this historical moment and not things that could be confused with something somebody in 1940 or 1830 or 1210 could have possibly had or even 1985 if you wanna bring it a little closer to the present, which is still far away. So the Gothic people like things pointy. And of course, you probably already have a hunch that one of the things they liked pointy was architecture, pointed arches are things that characterize the architecture of the Gothic period but Wolfgang would say, that's not it. They also like pointy shoes. So if you look at pictures of people wearing armor or armor displays, you'll often see the pointy shoe because they like things pointy. This is a section through a Gothic cathedral where you have the pointed roof, the pointed turrets, the pointed arches, the skeleton with his party hat on, they like it pointy. And who knows if that's true or not but it's a useful construct. Just as the idea of dialectic helps us understand relationships between things. If we begin to think about the notion of zeitgeist and kunstvollen, we can begin to see a shift from one style let's call it Romanesque to another style let's call it Gothic. And frequently these shifts are motivated by different cultural aspirations or a desire to represent different things. We already saw that when we looked at things like I don't know Greek temples versus Roman temples. The Greek temples had their relationship to a landscape that was quite different than the Roman temples relationship to the landscape. And a lot of that had to do with the fact that the Greek temple wanted to be connected to the pre-existing spirit of the place and make that visible, make that manifest. Whereas the Roman temple wanted to be a symbol of a civic order and had to embed itself within the fabric of a town in quite a different way. So this is just comparative sections between a Gothic church and a Romanesque church. You get a lot of benefits by making your church pointy. For example, the names here are more or less the same dimension. However, the height of the names is quite different and one reason the height of the names is quite different has to do with the fact that with the Gothic vaulting system it's possible to go higher. It's possible to go higher because, well you're going upward, you're not simply folding the arch down around itself. It's a thinner structure because the lateral forces are being translated more directly to the ground. So here we see a little section of a Gothic system. This is the Gothic system where the loads are constantly being moved outward. This is a little section of the pantheon which is a very thick chunk of wall where the loads have to be absorbed entirely within the mass of the wall. Notre-Dame Le Grand and Poitiers, we have a thinner envelope than we have at the pantheon. We don't have anything nearly as thin as this because we have not only pointed arches but we also have flying buttresses. And a flying buttress is simply something that takes the structure out of the body of the church and puts it perpendicular to the church. Kind of like the skeleton's arms. He's holding the thing up like this. So the wall of the church is quite thin. The mass is perpendicular rather than parallel to the line of the nave. And it does look funny to see the party skeleton here, I have to admit. However, it's possible to think of Gothic architecture as skeletal in structure. And skeletal because it's an architecture of ribs and columns rather than an architecture of surfaces. The Romanesque architecture, the stuff we've looked at like Notre-Dame Le Grand, barrel vaults, surfaces that translate down the length of the nave. The architecture of the Gothic, which we have not yet looked at thoroughly enough, is an architecture of ribs, an architecture of columns, an architecture of buttresses, an architecture of finials. Notice over here the party hat that the skeleton wears accomplishes two things. One, it succeeds in being pointy. And we know that everybody in the Gothic period loved pointiness, but it also adds more mass. And what you want to do is resist the lateral thrust so you need a certain amount of mass. And so this creation of a kind of vertical element to the buttress also has the benefit of putting more mass there and becoming a more kind of sound breezing mechanism.


Hello, you are watching The Daily Roundup by People's Dispatch, where we bring you some of the top stories from around the world. Let's take a look at the headlines. UN IPCC releases a report on climate mitigation. Israeli forces escalate violence at Damascus Gate. Indigenous terror livre protest begins in Brazil. Colombian progressive candidate faces death threats. The United Nations Intergovernmental Panel on Climate Change has released the final part of its sixth assessment report. Following earlier reports on climate science, impact and adaptation, the final text focuses on mitigation. It states that global greenhouse emissions have continued to rise over the past 10 years. In 2019, the global net anthropogenic greenhouse emissions were 54% higher as compared to 1990. Current policies have put the world on track for global warming between 2.2 and 3.5 degree Celsius in the next eight years. Warming beyond the 1.5 degree Celsius threshold will lead to a drastic rise in heat waves, floods and other disasters. In order to have a 50% chance of sticking to this threshold, emissions must be halved by 2030. The IPCC states that this is possible, provided there is an immediate change in policy across sectors, governments and countries. 36 countries have been successful in reducing emissions. Carbon cutting, renewable technologies have also become cheaper. The least developed countries or LDCs emitted only 3.3% of global emissions in 2019. They have contributed less than 0.4% of total historical carbon dioxide emissions from fossil fuels and industry between 1850 and 2019. The IPCC reports stresses the need for equity and financial support for developing countries. The Global North has repeatedly tried to downplay the differences in emission contributions and how this must shape responsibility. According to Climate Home, a graph showing the different financing needs of developing countries was excluded from the report summary. This summary also boosts techno fixes and carbon capture schemes. These are schemes that have been rejected by activists and experts for potential harm to local communities. Israeli violence against Palestinian worshippers continued for the third night in Jerusalem on April 4. People gather in the Damascus Gate area every day during the Muslim holy month of Ramadan. Israeli forces often ban such gatherings by erecting barricades and using brutal force to disperse Palestinians. On April 3, Israeli Foreign Minister Yair Lapid visited the Damascus Gate. The action was widely condemned, with Hamas calling it a provocative incursion. Hundreds of Palestinians gathered in the area on Sunday evening. However, Israeli forces soon deployed tear gas, stun grenades and rubber coated bullets. According to the Red Crescent, at least 19 people were injured. At least 14 others were also arrested. The violence witness this week is similar to the week's long repression that happened in 2021. Protests had spread against the expulsion of Palestinians from Sheikh Jarrah and attacks on the Al-Aqsa Mosque. According to local sources, at least six Palestinians were arrested on Monday night. Three of them were detained by undercover Israeli special forces. This year has witnessed an escalation of violence by Israel. According to the Quds news network, at least 31 Palestinians have been killed since the start of 2022. Seventeen people were killed in March alone. The Palestinian Health Ministry also released its report on casualties during 2021. 355 Palestinians were killed and at least 16,500 were injured by Israeli forces last year. Among those killed were at least 87 children. Indigenous peoples have started gathering in Brazil's capital for the 18th Accompamento Terra Livre. Considered the biggest mobilization in the country, it is expected to bring together around 8,000 people. The 10-day protest is being held under the banner, retaking Brazil, demarcating territories and village politics. Indigenous communities have gathered to defend their lands against the far-right Jair Bolsonaro government. The Terra Livre camp has been organized by the Articulation of Indigenous People of Brazil, or APIB. It is taking place just as a national congress debate, certain bills which APIB has called projects of death. An urgent focus has been placed on Bill 191 slash 2020. This will open up Indigenous lands to mining, agribusiness and hydroelectric dam projects. The bill was approved for fast-track processing by the Chamber of Deputies on March 9. President Bolsonaro has weakened environmental conservation laws and overseen a drastic rise in deforestation in the Amazon. A record 629 square kilometers of the forest was destroyed in January and February. Bolsonaro has also pursued anti-Indigenous policies, publicly declaring that he would not demarcate even one centimeter of Indigenous land. In 2019, one year after he took office, invasions into Indigenous territories had increased by 135% violence against Indigenous communities doubled. The Supreme Court is also set to resume hearings on the landmark temporal framework. This will be detrimental for around 800 Indigenous land claims. And for our final story, Colombia's vice presidential candidate, Francia Marquet, has denounced renewed death threats against her. 40-year-old Marquet is a renewed Afro-Columbian environmental activist and lawyer. She is contesting the upcoming election as a running mate of presidential candidate Gustavo Petro. Both belong to the left-wing historic pact coalition. Recent polls have indicated that the duo are favored to win the May election with 37% of voting preference. However, this is the third time that Marquet has warned of threats against her. Petro and Marquet have denounced the lack of guarantees to conduct the campaign safely. They have demanded that far-right President Ivan Duque provide protections for political exercise. Marquet has been threatened by a far-right paramilitary group called the Black Eagles. It has been operating since 2006 and has been involved in activities including extortion, illegal gold mining and land theft. Marquet has warned that the group has also threatened social leaders, other candidates and legislators. She has urged Colombian authorities and organizations including the United Nations and the IACHR to look into the matter. Violence by armed groups has continued unabated in Colombia according to the Institute of Development and Peace Studies. 48 land and rights defenders and other such figures have been killed in 2020 so far. Marquet's platform includes economic investment in rural areas hit by armed violence and the implementation of the 2016 peace agreement.


It's time for the Laun Jean Chronoscope, a television journal of the important issues of the hour, brought to you every Monday, Wednesday, and Friday. A presentation of the Laun Jean Wittner Watch Company, maker of Laun Jean, the world's most honored watch, and Wittner, distinguished companion to the world-honored Laun Jean. Good evening. This is David Ross. May I introduce our co-editors for this edition of the Laun Jean Chronoscope? Mr. William Bradford Huey and Mr. Hardy Burke. Our distinguished guest for this evening is Mr. Edwin A. Locke Jr., special United States Ambassador. Mr. Locke, we and our viewers feel particularly fortunate tonight because this is your first public appearance since you have returned from the Middle East. Of course, there you were a special representative of the President, trying to help us carry on our activities in the Middle Eastern countries, particularly trying to help us in our battle with the Russians over those nations. Now, sir, from your observations in a very interesting year in those nations, how is the battle between our country and the Soviet power complex? How is it going in the Middle East? Well, sir, I'm going to speak quite truthfully and plainly because I think the American people are entitled to the facts on this situation. I believe that we are rapidly losing the Cold War in the Near East, in the very heart of the Near East, namely the Arab states. And you were particularly concerned with the Arab states in the Near East. That is right. Now, sir, you've just made a rather interesting statement and surprising one that we are losing in that area. Can you illustrate for us, sir, some of the ways in which we are losing, some of the indications that we are losing there? Well, I have never seen a situation that is more explosive, more fragile, and more fraught with dangers for the United States. Do you think there is a possibility that we could lose the Near East to the Russians completely? I think that's quite possible. What do you mean by the Near East? What countries do you mean? I mean, essentially Greece and Turkey, where things are going fairly well for us. And then the seven Arab states and Israel. It's the Arab states that you're accustomed to. And the Arab states where I'm particularly alarmed at what has been happening. Well, why do you consider, you believe this would be a bad thing for us to lose the Near East, I guess? I think it would be tragic. Why would it be tragic? It might very well spell the balance, the difference between victory or defeat if the Cold War should at any time become a hot war. Well, you were about to illustrate, sir, or to give us some examples of how the war is going against us, or how we are losing there. Yes, I can give you several examples. Just two or three days before I left the Near East, I was paying a farewell call on the Prime Minister of one of those countries. He said to me that, until recently, he felt he could control the communist situation there because he only had a few hundred communists. And having only a few hundred, those could be put in jail or in concentration camps. But now he said, I have tens of thousands of them. And he said, I can't begin to put my whole country in a concentration camp. I'll give you another example. I've been talking a great deal to Arab publishers and editors. They, of course, are subjected to very considerable pressures on the part of the communists to publish communist material and propaganda. So far, they've been able to resist those pressures for the most part. But recently, recently, they've begun to have to print communist news because their readers are demanding it. Because their readers look upon Russia as a very strong, perhaps their only strong friend in this present situation. Ambassador, just one more question to point out the importance of the Near East to the United States. Could you tell us very briefly, if we lost the Near East because of this increasing communist pressure, what would Russia gain and what would we lose? Well, everyone knows about the oil. The Near Eastern countries, the Arab countries are producing over two million barrels a day, a petroleum a day. That is more than 25% of what we produce in this country. If we lost it, I suspect it would very shortly mean gasoline rationing and fuel rationing in this country. If the Russians gained it, it would make a tremendous strategic difference in the economic balance of power. And other than oil, what else? And the Near East is the communications hub, all important communications routes, whether by land or by sea or in the air, crossover or through the Arab states. If that was in the hands of the enemy, the Eastern, the Western nations would be cut off from Asia except the other Pacific. Why are we losing there? Why are some of the reasons for our failures in the Middle East? Well, I think, first of all, we have to a large extent neglected the Near East in our preoccupation with Europe, where we have been, to be sure, quite successful. You mean financially neglected them? Financially, yes. How have we neglected the Near East in comparison with Europe? Well, in every way, but particularly politically. Our best talents, our greatest attention, our greatest efforts have been devoted to Europe. And along, as part of that neglect, with some notable exceptions, we have sent third and fourth rate people out to the Near East. Well, you mean representing the State Department there? Representing the State Department and other branches of our government. I don't mean to criticize everyone there have been some very fine people and still are. But by and large, there's been quite an unreasonable number of third and fourth rate people. Well, number one, preoccupation, and number two, we've sent third rate people there. Are there any other reasons for our failures, sir? Yes, I would say we still have learned comparatively little from the tragedy which has taken place in Iran. And we've reacted much too slowly to the situations which have been arising in such places as Egypt, in Tunis, in Morocco. Where today that a solution that is suggested, if it had been suggested a year, two years ago, might easily have worked out that problem. But today is completely unacceptable to both sides because the problem has progressed to such a point that the solution now is infinitely more difficult than it was a year or two ago. And would you say that a fourth reason derives from the emotional attitude of the Arabs toward Israel? Well, the Palestine question has been handled very unskillfully and ineptly. Who can take the blame for this whole, as you say, an aptitude on the part of the people that we have sent over there, our whole policy there? Is it the State Department? Well, largely it's the State Department. Well, sir, our viewers have heard a great number of people discuss the problems of the Near East. And not a night, sir, can you give us something positive? Can you tell us something we can do about it? Yes, I have some very definite convictions as to what can be done about it. The most important, the first and most important thing to me is for General Eisenhower, within the first few weeks of his new administration, to come out with a simple public statement on the first occasion of office emphasizing our feeling or re-emphasizing our feeling of friendship for the peoples of the Near East, particularly for the Arab peoples, indicating our interest in helping them solve their problems, in helping them work out their just grievances, showing a sympathy for them. Do you think their regard for Eisenhower would be high in the Arab world? They have great hopes that this new administration is going to bring about improvements in our attitude toward that part of the world. Well, after that statement of friendship, sir, then what would you do next? Next, I would spend great efforts in getting new, more vigorous, more able men in the key posts in the State Department, handling that part of the world, and in our missions that are located in the Near East. Does that mean we have to bring in new blood into the State Department, or can we use the career men who are there? I think it means both. I think there's some very excellent career men in the State Department, but I think at this time of crisis out there that we would do very well to bring in some new men from the outside to add to them. Ambassador, are you going to make any kind of an official or unofficial report to the new Secretary of State, or to a new mutual security administrator or anyone in positions of influence in government in the new administration? Well, I would hope so. I've only been back here for two, three days and haven't had an occasion to do so yet, but I hope to have that opportunity. Well, you were telling us what a program for action there, sir, and you're giving us two things that we can do. Number one, the statement, and number two, bring in new people. Now, what about spending our money out there? Well, I don't think it's just a question of money, and I don't think money by itself is a solution to this problem, but I do feel that we need a certain amount of both economic and military assistance. Do we need to make capital investments there? And very particularly, we need to have capital assistance available. You mean we have to build dams and roads and so forth and so on, railroads and that type of thing? Yes, and develop some of their river valleys and other such natural assets. And as a final question, sir, you think that if we do these things that you've suggested, do you think that we have a chance to win the political warfare in the Middle East? I think we have an extraordinarily good chance to do it. Well, I'm not the tallest maid at the difficulty of the situation. And you think the battle is worth fighting there? I definitely do. Well, thank you very much for being with us this evening, sir. The opinions you've heard our speakers express tonight are entirely their own. The editorial board for this edition of the Laun Jean Chronoscope was Mr. William Bradford Huey and Mr. Hardy Burke. Our distinguished guest was Mr. Edwin A. Locke Jr., Special United States Ambassador. The end of the holiday season just passed found the Laun Jean watch factory oversold. The demand having exceeded the production by many tens of thousands of watches. Why should this be sold? Why not make more of these fine Laun Jean watches? Well, the answer is simple. Only craftsmen of the highest skills and training can be employed in their manufacture. Such craftsmen are limited in number for their training requires years. Now, obviously, many more Laun Jean watches cannot be made without a sacrifice in quality. And that Laun Jean never has and never will do. Were it not so, Laun Jean would not be the world's most honored watch. The only watch in history to win 10 World's Fair Grand Prizes and 28 Gold Medal Awards and highest honors for accuracy in fields of precise timing. The perfect craftsmanship of the Laun Jean watch is evidenced in its faultless performance as a timepiece and its rare beauty as a piece of jewelry. If tomorrow you wish just about the finest watch made anywhere in the world, either for yourself or as a gift, your choice might well be Laun Jean. The world's most honored watch. The world's most honored gift. Premier product of the Laun Jean Witner Watch Company. Since 1866, maker of watches of the highest character. 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Let's get right into it and see what we've got here. In the last episode 937, we were talking all about how to use command back tick, we'll call it, which is the non-shifted version of the tilde key to go backwards once you have the app switcher up. And listener Chris says, certainly in 937, Jeremy mentioned that this keyboard shortcut only behaves this way if the application switcher is active initially. So the user must initiate the application switcher with command tab or shift command tab and then tap the back tick key instead of the tab key, all while still holding command. However, if a user just presses command back tick without the application switcher being first active, the Mac will switch between open windows in the front most application. For example, if you have multiple word documents open, command back tick would cycle through only the word documents and shift command back tick cycles through those documents in reverse order. If there's only one window for the front most application, the Mac doesn't do anything. That's handy. I think I'm gonna use this in terminal more than anything else because I constantly have different terminal windows open. So assuming it works there, I'm excited about this. So thanks, Chris. It's good stuff. Any thoughts on that guys before we move on to the second one that's sort of related to that? I got nothing. All right, well then we will go to Raymond here who says I was listening to 937 this morning about the keyboard functions for bringing up the app switcher and switching tabs and I was trying other combinations and found one that surprised me. I have a 27 inch monitor with my M1 mini and I use spaces to have all of my apps running. I have five spaces set up and today after listening to your show I tried some more key combinations and found that control left arrow and control right arrow will switch the spaces screen. I didn't know that something new. Very cool, Raymond. Thank you for sharing that. This is what we love about the quick tips because they're things that we know how to do once we know how to do them. Yeah, once you incorporate them into your workflow they become so awesome. That's the key, yep. Except when you're standing over someone's shoulder watching them do it and they're playing with the mouse and trying to keep just going. Oh, stop, please just use. That is the hardest part. It's like, can I show you something that would make my stress level lower in this moment? Of course, what you're actually doing is trading your stress level for theirs in most cases. Yeah, so. I'm okay with that most of the time. Yeah.


Welcome to the CTS Learning Series, Chapter 5, testing a non-OSS UOC example. In this chapter, we will demonstrate constructing a valid non-OSS toolchain configuration file, demonstrate successful and failing conformance tests for PCS-UOCs, P-TRIPLE-S-UOCs, TSS-UOCs, and IOSS-UOCs, and introduce conformance test reports that contain UOC conformance tests and explore how to read them. This chapter has the notable exception of OSS-UOCs. This is intentional, as the project configuration builder for OSS-UOCs contain a different user interface within the project configuration builder. Furthermore, the theory of testing an OSS-UOC is slightly different than testing any other type of UOC. A demonstration of OSS-UOC toolchain configuration construction, project configuration construction, and UOC testing will be shown in Chapter 6. The UOCs we will be testing in this chapter are the UOCs contained in BALSA. Although BALSA comes with project and toolchain configuration files pre-configured, so all you have to do is import them, we will be manually selecting each option in this video series. This is in an attempt to demonstrate creating a toolchain and project configuration from scratch and the general workflow that results from that process. Thank you for watching. This concludes the introduction. In the next video, entitled Demonstration of Construction of a Non-OSS Toolchain, we will demonstrate the construction and validation of a Non-OSS Toolchain for use in Chapter 5, Videos 3, 4, 5, and 6.


at TFNN, Educating Investors. This is TFNN, The Tiger, Financial News Network. And this is Dave White with your 2 p.m. update, well, to quote the title of the 1975 album from Head East, Flat as a Pancake. That's what we have. There's never been any reason, if you remember that song, I want to say fall of 1975, close to it. Anyway, as I said, almost nothing wrestles up to 10% everything else is in a margin of error. The only thing really moving is maybe half a percent on the crude goal, looking at the long-term support line that I looked for six months ago, I think, was 1675, you're just playing around on it. There's no real sign of strength or anything else other than it going sideways out here. On Friday, we had some huge volume and one of the rare indications that maybe we're getting close to some kind of washout for retail traders. We had a five-year low for the percentage of dark pool traders. Those are the big guys on Wall Street that are trading back and forth to each other opposed to the total volume and you can intimate that means we have a lot of retail traders throwing the baby in and out with the bathwater. We had a lot of volume and not unheard of for a quad-witching and of course, all we're doing now is really waiting for the Fed on Wednesday. When we get back in a minute, we'll talk on the show today about housing, Ethereum and a big, big court case. The reality is that navigating finance


All right. Tell everybody at home from Naval Support Facility de Vecely, Romania. Baza Militare Noze, Ginoa de Vecelo. Eighty-Six-Ore, Missile Defense System, Romania. Go to ADP, DLRB!


Another question is, is credit given for work experience? Yeah, so that's a very institution-specific question and often a very program-specific question. At Catholic, I know for the most part it is not. It depends on the degree program that you're applying to. So I think that that's a question that is really geared towards academic programs within each school as well.