So I'm just going to tell you a short little story about setting up make a space, hack a space in India, and at the same time, what's going on, and what are the kind of things that are happening over there. So a little back history about who I am. I used to work at this company called Aynetra. It was this crazy bunch of guys that we were working at MIT Media Labs in Boston making iDiagnostic devices. The small handheld device worked with a smartphone, and with a couple clicks of a button, it would give you your prescription, so you can go and get your eyeglasses. So worked with a simple smartphone. Over there, there was this place called Artisans Asylum, which is one of the biggest hacker maker spaces in the United States. It's about the size of two football fields. It's huge, and there are all sorts of artists, engineers, people from all backgrounds working in one place making some very interesting things. From jewelry, to welding, to tables and chairs, to healthcare diagnostic devices. But the most important part about this space was the kind of people that were there, the culture and the community. This was the first time for somebody like me to get an experience like that, and that's where I was building that device for Aynetra, the hardware part of it. Eventually, Aynetra asked me to go back to India, because obviously the device had more impact in India than it did in Boston. So I took the next flight, landed up in Mumbai, started traveling two small little villages, taking eye tests, and coming up with hardware improvements to the device. This was one of the shops that I was making the device in. It was a tiny little troll, and we were using mainly lathe machines and milling machines to make the device, whereas the device in Boston was 3D printed and everything. We had a slow process of doing it, but we were coming up with improvements. Eventually, one fine day, the ceiling of our office fell down, and it broke everything. It broke our table, it broke our furniture, it broke pretty much everything that we owned. That's when, instead of buying new furniture, we created a small meetup. Oh, I don't have a photograph of that. Anyways, we created a little meetup, like a get-together, an event, just like this, to build some tables. And that got some interesting people together in Mumbai, and we started building together. And every weekend after that, we would get together and make something all together, just like a small hacker space. And we would hack something like LED cubes or water bottle bazookas, all sorts of fun things. Eventually, we moved out of there, and we found a little garage in Bandra, where afterwards, in a couple of months, it started looking like this, and it was quite happening, all sorts of people coming from different parts of Mumbai, getting together, and that's where I met Swa. Swa is a part of CCC, and she came down to Mumbai and she was starting Hill Hacks in Dharamshala. And that's where I found out about the bigger maker culture and the hacker space community around the world, and we started doing more about this. And then I eventually got serious. I quit my beautiful American salary-paying job and started working on creating this hacker space, or maker space, in Mumbai. Eventually, we moved inside a bigger space, which was a part of a design school. They had given us some space for a little bit of time, and that's how the space eventually started looking. And we kept all the equipment in there, like 3D printers, laser cutters. We started doing workshops and trainings to get funding, and at the same time, started building the space using that. In India, on the other hand, we don't get government funding for all these things, so we have to figure out sustainable models. And so we were doing a lot of these trainings, which were getting sort of interesting. But one exciting thing about the trainings was that because we were doing it inside a design school, so we had a lot of artists coming in, and then we had a lot of engineers from outside coming in to learn 3D printing. And one thing that happened over that time was that the engineers would just understand everything about how the equipment worked, and they would just pay attention to the part of how it works and how they can make it better, everything. But the artists paid no attention to that. They just paid attention to the beautiful things that they can make out of the 3D printer. And that led to some very interesting collaborations, like this robot. So on the outside, it's origami, it's all paper folding. And but on the inside, it was all robotics and electronics that made it walk and move. So the entire inside of it was all 3D printed, which is pretty exciting. Eventually, we set up a small hackerspace, makerspace in Delhi as well, and this is how it looks outside. And what it says is half in Hindi and half in English, pass it on, which is our Wi-Fi password. And at the same time, more of which became our philosophy of passing on the knowledge and everything. And that started a beautiful community in Delhi as well, created a common ground for people to get together and try out new things. Eventually, I went back to Mumbai and I saw this. The space in Mumbai was packed. And there were artists doing all sorts of things like dyeing clothes. At the same time, engineers were trying to find a place to work. And nothing was getting done. More than that, we had also started using the place in the design school that wasn't given to us. So that started creating some issues with the design school. Eventually, we went out to look for another place because it was time to move on. And we raised a crowdfunding campaign, raised a little bit of money, and used that to set up a new space. The interesting thing about this was, again, the entire community got together to build a space. So this time, about 100 people showed up over a span of two months. And we did everything from doing up the walls to refurbishing all the chairs and everything. And now the space looks something like this. It's about 13,000 square feet. And there's one entire floor, which is just the lab. And it has everything from laser cutting, 3D printing, screen printing, electronics lab and everything. So it's beautiful to see how the community got together to make this. But what we'd done was that we created a beautiful cult of unlike-minded people. Because that's where the good ideas started coming out from. Because everyone was outside of their comfort zone with people from all sorts of backgrounds, which sort of made it very exciting. And then while we were building our little maker space, there were over 25 different maker spaces that started coming across India, including Dharamshala, where it's a far-set-up maker space, or hacker space. And a lot of others in various parts of India. And this sort of became like an entire Indian movement. And now there are about 25 of them, if I'm not mistaken. And all of them are sort of finding their own ways of becoming self-sustaining, which is exciting. To give you an example of the kind of projects that are going out in these places, especially at the asylum, there is a girl who does a lot of leather work. She makes leather bags. So she etches them using the laser cutter, customizes them, and then sells them out. There is a doctor who's building a retinal imaging device so that he can start recording images of the patient's retinas and then do further analysis on them. And what's again exciting is the doctor himself is making it. And when you think of the Indian subcontext, because there are so many problems out there compared to the first world. So every problem that you look at needs, whenever somebody tries to solve a problem, it's always about solving a bigger problem. And something like this is what was exciting. And then there were more interesting things like Claire was working on prosthetic limbs. And she started collaborating with my human kid in France and started making more advanced versions of prosthetics. There is Krishna who's making an air diagnostic device. So it pretty much takes images of your airdrum and sends it to the doctor for telemedicine. But what's exciting about it is that he hacked a headphone to make it. And if you think about it for little kids who move a lot, it's amazing because even if they move, the camera is moving relative to their head and hence you still get a decent image. So it was exciting. There is another guy who is working on a tomato device. It attaches to your phone and takes images of your skin for skin diagnosis. What's again exciting is that this device usually cost about 1,000 euros in the market. But when you make a clip on for your phone, it costs less than a single euro. And what he did is that it's all a 3D printed device, but he put a lens inside it from an old CD round drive to magnify the camera. It's very simple. So pretty much nothing, just about hacking it out and eventually creating something exciting. There are these guys. Have you heard of the Satnogs project? Okay, it was a project that was started in Greece and they're building a bunch of these satellite ground stations around the world so that you have open source data being collected and at the same time being broadcasted further so that people can have that data. It was a project that won the Hackaday Prize two years back and they're building one over there as well which is going to be technically the first one in Asia. It's pretty cool. There is a guy making music out of hydraulics and woodwork. There is a guy who is making an autoric shower with gullwing doors. So there are so many exciting different kinds of projects that are going on. It's amazing. So that's all I really wanted to share and it's been an exciting time to set up and see the maker movement grow in India and I think it's a beautiful place so I think you guys should definitely come. If you have any questions, I'm all yours. So what's the process from when you first started? Two years now. Two years? Yes. Four spaces? Four spaces. Wow. Every eight, seven to eight months we moved to a new space. So we never really had a stable space. The first one was inside Anathra's office which lasted about five months and then we got the garage which lasted about eight months. Then we moved to the design school which was about another eight months and now we move to our final space where we've actually been settled. The Delhi and the new space, they're both kind of more of a base for us now. So the question for this one was how long has it been since we started? So there are a couple of people, so the question was how many people are usually active at the maker space or the hacker space because it's really huge. So there is a part of the space which is co-working. So there are startups sort of working over there in the new space. So we wanted them to be a part of the space so that including them, you would see about 40 people on a daily average but there are over 200 members right now in the space in Mumbai and then the space in Delhi has about 25 but more often than not, we do a lot of events and for these events and workshops, we see a lot of people coming in and the events is something what is one of the reasons why I'm actually here. So I was actually travelling around France because the French Embassy asked me to travel around France and check out what's happening there and try and get some collaborations in India. So I was there for about three weeks and travelling to various spots, researching on one thing which was education to see how these hacker spaces and maker spaces can create a new form of education. So if you think about it, what's happening in all these hacker spaces is that they're doing all sorts of workshops. People are coming and doing all sorts of projects. They're open source projects, most of the times and they're documenting these projects. That project, plus all the knowledge that they've learned, plus some people, usually a lot of the people also do online courses, if you mix all of them, it's pretty much creating everything that a college gives you. So what we said is that how about if you think about it this way that instead of asking people to study to become an architect or study to become a doctor, let them explore, let them be at a space like a hacker space, maker space, anywhere in the world, go and do the courses they want to to be able to create that project that they're interested in and based on the documentation of the project and the courses that they've got done, we'll give them a degree. So the reverse way. So that's something that we've been sort of researching on and it's got some exciting eyes so just travelling around to see what's possible. What's the demographic like? So the question was, what are the demographics like at this space? So interestingly, there are about 40% girls at this space, which is very interesting for a place like India. And apart from that, the average age would be around the last we checked around 25, 26. So there are a lot of people who are coming to the space who have recently retired, which is interesting. And they're coming to the space to explore and do exciting things and pass on their knowledge. But then you also have a lot of students who are coming in. And then you also have the guys who are doing smaller companies and startups. So it's actually quite varied. You see, on a regular day, you would see people who are slightly older and at the same time very young. Any other questions? I'll repeat your question. So the question was, the degree part that I was talking about of Hacker Spaces and based on workshops and project-based learning, is that something that's already been done or is it something that will be done now and in the future? So it is for the future. And so personally, I haven't been a big fan of degrees. I left my degree when I got it. But at the same time, if you look at it from a bigger subcontext of India and other places, the family usually wants them to go into that specific path. And at the same time, if you're looking for, eventually want to go into a job or the industry, they want that degree or something that accumulates your knowledge and says you are an ex. So it makes it easy for the studies or for the work. And that's one of the reasons why we were doing that so that it becomes sort of at the same time for Hacker Spaces and make spaces to, especially in places like India, to become more sustainable because now families have a reason to have their kids over there. And it's easier for them to explain that they can go down an alternative education route compared to a direct always college route. And at the same time, so it's an experiment to be honest. Right now it's going to start with a basic certification that we're going to try to do now.  So you ask them to stay for six months and in the six months they can do whatever they want. And at the end of the six months based on their projects you get a small maybe letter or a certificate that says that you've done these things. So this would give more of a reason for people to continue being there for longer maybe, especially in a place like India where you want to focus on education at an early age. So the question was do we have any support from the government or any corporate? Or is it just Kickstarter or crowdfunding money? So in India we haven't been getting support by the government yet. So what we're trying to do is create a self-sustainable model so that the money comes in and goes and runs the space. That does mean that we don't have any funding from corporates but we do do some corporate events at this space once in a month. So something like a hackathon or something which is sponsored by the corporate then. So it is for people but then we try and get a corporate sponsor so that we can even out the cost of running the space for at least about a month or a couple of weeks. And that way we can renew it. Our overheads are pretty low. If you think about it, apart from the rent that we pay which is the biggest thing, the rest of the things at this space are usually taken care of so we don't have to worry about it too much. And SWA is actually doing something very exciting in Tharam Shala as well. So over there it's more a give what you want kind of a model. So if you want to pay, you pay. You don't want to pay, you don't want to pay. That kind of a model. It's the same at Mumbai in a way that if you can't pay you just tell us why. Otherwise you walk in. That's the way usually I think most places work. And her relaxed model is also very similar where they're getting together and doing a lot of very exciting things. Spend people from all over the world are travelling there and teaching little kids and students in the village in the small towns on how to maybe solder or learn about electronics, exposing them to new exciting things. Any other questions? Time for beer? All right. Thank you.


I'm honored and delighted to join you as you start off the 2021 annual law week events. Through the years, the Lagos Bar has become perhaps the nation's most active and influential voice for improving not only the quality of law and the general legal and social environment, but also the lot of lawyers. Our growth as a nation depends not just on the system of enforceable and discernible laws and efficient institutions, but very significantly also on a vibrant private bar, the best of which is represented by the Lagos Bar. As one of you, I am proud that you have continued to strive to remain at the forefront of addressing with introspection, thought, and strategic action the issues that the Liga are taking on a threatening shape for our profession and the larger society. In any event, we may not have a choice. Lagos is the heart of commerce in Nigeria and certainly in Sub-Saharan Africa, and as such the heart of legal practice, especially commercial practice. What we do or do not do here in Lagos will always significantly affect our profession and indeed the Nigerian economy. The theme of this year's low, weak disruption, innovation, and the bar is of tremendous importance today and I think we will all agree that it demands urgency of both thought and action. Urgency because many of the predicted concerns that legal services would have to grapple with are already upon us. There is no turning back the clock of time on technology and its disruptive influence on society and the world of business and work. You only have to look at the smartphone and how it not only disrupted the mobile phone market, but also the sale of digital cameras when they are more redundant as the quality of the cameras on smartphones improved. Technological progression is always not a matter of if, but when. So artificial intelligence or AI has become and will continue to pose a major threat to many of today's jobs, not just in Nigeria but globally. According to a 2019 report by Deloitte's, 31,000 jobs in the American law industry were lost due to automation and by 2036 that number will grow to over 100,000 legal jobs. With the continuing progress in technology, it's only a matter of time before the time capsule catches up with us in Nigeria. At the moment, AI is commonly used to perform tasks such as legal research and due diligence, document and contract review, and the prediction of legal outcomes. These are tasks performed or that would have been performed by lawyers. And as digitalization has already disrupted other industries, it is possible to predict that artificial intelligence will grow further and disrupt the business model of the legal industry. For example, the AI legal service called ROSS. ROSS is an AI system that can research and offer legal opinions about questions that may be posed by lawyers. For example, users can ask ROSS, what is the position of the New York state law or perhaps what is the position of UK law as of 2020 on enforcement of foreign judgments. And ROSS is then able to provide an answer, a properly considered legal opinion taken into account all of the legal and all of the case law and statutory authority in order to be able to come to that conclusion. So providing predictive legal opinion is no longer the exclusive domain of lawyers. And as the years go by to become even more so, how is the profession going to deal with the competitive pressure of technology? Would it recall, combat, collaborate and or innovate? And perhaps more importantly, what are the inefficiencies that we see today that will likely propel the push for disruption? I think the times we're in call for answers to some of these questions and some other hard questions. Is our justice delivery system capable of supporting critical investments in today's very dynamic economy? How are we addressing the critical questions of institutional capacity, the capacity of judges, court registries, court staff and court infrastructure? What are we doing on an ongoing basis to ensure that our judicial officers in the courts and arbitrary adjudicators are competent, knowledgeable and trustworthy? Are the decisions of our courts predictable, sparing confidence in our judicial system? Are jurisprudence of jurisdiction, for example? Does it promote legal certainty or help to be cloud the issues even further? Have jurisdictional challenges become a potent weapon that strike blindly in all directions? What is the quality of judicial thinking? Is it merely caused to formulas, catchphrases and cliches, instead of a rigorous analysis of legislative intent and public interest and of course adding some common sense? Are procedural and adjectival rules a bane or a tool for justice and speed? How does a system explain to society that the current rule established by our apex court is that the signature of a law firm, instead of that of an individual practitioner on a court process, could negate or extinguish the substance of the rights of individuals and commercial parties to justice in a decade-owned case, or even a case that even much older? How does justice delayed at the convenience of legal practitioners or the benefit of litigants become just as attained? I argued an appeal at the Court of Appeal in 2013 and only to learn a couple of days ago, as I discussed with former colleagues in the law firm where I worked, that the appeal at the Supreme Court is not to be listed to be heard in 2021. As someone said, our problem is not access to justice, it is exiting the justice system with some credible result. Should we not be evolving a cost-award system that recognizes the court as a finite public resource and as such delays and other dilatory tactics are visited with deterrent costs? We are part of a global marketplace for investments and legal services, and so the extent to which we can attract business to our country depends in part upon investor perception of the quality of our justice delivery system. If we are seen as inefficient and ineffective, we would lose out to more efficient systems. In fact, in a matter, Ipko and NNPC, a 2015 decision of the UK Supreme Court, where a challenge to the enforcement of a Nigerian seated arbitration tribunal award came before the English Court of Appeal. The court referred to the delays in the parallel proceedings before a Nigerian court as catastrophic and that it could take a further 30 years to resolve. Incidentally, the expert witness who testified on delays in Nigerian courts was a former justice of the Supreme Court who testified that a case could take 20 to 30 years to resolve in Nigerian court. Questions need to be asked about the readiness of our profession to engage also in new markets as presented by the African Comprehensive Free Trade Area. Already Nigerian banks and financial services are crossing borders in Africa, acquiring banks in several African countries. So the free trade agreements will open new transborder commercial opportunities. Our profession should pay attention to the rules of engagement for legal services and how they may prepare our businesses. Permit me also to raise the question of what legal training would look like in the next few years. Aside from the issues around moving firmly to clinical legal education and a more problem solving teaching orientation, we must also decide the question of whether the Nigerian law school needs to be an in-person residential course, almost online, including taking examinations online. Today it's becoming obvious that cramping thousands of students into a classroom for lectures at the law school is a suboptimal teaching and learning environment. Even mock trials can be more effectively done online and courtroom processes can be put on videos and rewatched several times by students. Of course we may still retain court and chamber attachments. These are all questions that are in the air and I trust that there might be an opportunity for some reflection on some of these issues at this low week or at future engagements. Change is happening quickly all around us in every sphere of life. A sentimental clutching onto traditions will not serve us well. You've seen already that there is nothing sacrosanct about proceedings taking place in physical courtrooms. Virtual hearings are efficient and speedy. It's good to see that some states including Lagos issued practice directions that permitted virtual proceedings during the pandemic lockdown. It was also, I'm sure for many of us, a pleasure to see that during the recent Jewson strike, the Supreme Court delivered some time-bound judgments by Zoom. This was in line with the commitment that the Chief Justice of Nigeria made recently to a full-scale digital revolution in the judiciary that would guarantee electronic filing of court processes, virtual hearings, and delivery of judgments. We haven't yet to go a step further by institutionalizing these innovations and others. Our justice delivery system, our practice norms, and service levels must also show a propensity for innovation, for growth, and evolution. We're at a point in history that either propels us forward or leaves us behind. The latter is clearly not an option. It's therefore my very special pleasure to declare open the 2021 law week of the MBA Lagos branch. Thank you very much. God bless you.


With a preventative drug for HIV being available in the UK but not in Ireland, we asked the chairperson of the LGBT Society for his views on people who suffer HIV and how this drug could have affected their lives. I find that the access of PrEP gives MSM and in particular people of the queer community both choice and security. So in terms of choice allows them for a more comprehensive sexual health plan. It's not for replacing traditional contraceptives but more for working in conjunction with them. Security, the drug has been shown consistently to curb HIV transmission. So in that respect, the individual is confident that the contraceptive measures that they're taking is effective. So in that way I think that's what's really important. We asked student union president Neil Beaton about the current state of HIV in DCU. I definitely think that there is a presence in DCU of HIV. I don't think it's at an epidemic level compared to other different illnesses that we would come across and people would come into the student union and what I do think that there is a presence and it is something that students should be informed about and also as a union that we should be looking into. We asked DCU students if they thought the government should be doing more to help people who are living with HIV. Nothing's been really done much. There's not many options. It's kind of like, oh you really can treat it but I think they need to be careful for HIV. I feel like we don't know enough about it. We're not really taught anything about it. As well, yeah. And it's still associated with only gay men when it's not. It affects everybody. I know there was an increase last year in the number of people that had HIV so, yeah, like there's a lot of money wasted in other places so, yeah, that's why I'm here.  The new drug called PREP is a HIV prevention drug available in England. It can only be bought online here but it is illegal to buy the drug online in Ireland.


In this section, I will explain the concept of options that are a type of financial instrument and what we will be discussing that what is meant by an option and why we can say that this can be used as a tool for insurance. So, we discussed earlier that there are various ways through which we can protect ourselves from risk because whenever we are doing any kind of business or whenever we are undertaking any type of investments, making any type of investments, we get exposed to risk. So, there are a number of different techniques through which we can protect ourselves from the exposure to the risk. So, we cannot avoid it in some cases but somehow we can manage to protect ourselves from a higher level of risk. So, options is a financial instrument that is used or we invest or in options in order to protect ourselves from different types of risks. So, when we look at the concept of option, as I said earlier that it is a financial instrument that is basically based on the value of the underlying securities and there could be a number of different types of securities and we can take up the stock. So, what is going to be the value of a certain stock or the value of certain stocks which we are trying to invest in. So, the value of that stock will help us in determining the value of the option. So, basically option is a contract which allows you to or which gives buyers the opportunity to protect himself or herself against certain risks that can be there in future. So, basically the investors can buy options or they can sell options. So, and the basic objective behind both selling and buying options is to protect themselves against the risk therefore we can consider it as a tool that can be used as an insurance in order to protect ourselves or the investors can protect themselves against any kind of risks. So, if we look at the, we discussed earlier the concept of futures and now I am telling you about the concept of options. So, both are the various types of financial instruments. So, there is a technical difference between futures and options. So, there is a technical difference between futures and futures because when you are investing in futures, you are saying that on the future date, we will pay so much money for this particular financial instrument and after a month or after six months or after three months, this particular transaction will take place. This is what is meant by futures. But in the option, you are saying that it is not necessary that we will buy it. So, as the name says, option carry is that you have the option to do that particular financial activity. If you feel it is appropriate or suitable, then you can actualize the option or materialize it. But if you do not want it, then there is no obligation on you. You do not have any compulsion on you. So, that is the basic difference between options and futures that here you can go for it in case of options. But in futures, you will have to do for it. Go for it. Okay. You have to go to the futures. You do not have to sell or buy things that you have signed for the future contract. But in the option, you have the facility that you will buy this particular financial instrument or sell it if it suits you at that time. So, there is a provision of going for it or not going for it. Now, whenever we are talking about options, so there is always a premium that is there defined when we are talking about selling or buying any types of options. So, options can be of two types, option ke do tarah hote hain, we can have call option and we can have put option. Call option ka matlab hote hain ke aap kisi financial asset ko buy karna chaate at a certain stated price within a specific time frame. To aap ne ek certain time frame liya hain, it could be 90 days, it could be 30 days aur aap buy karna chaare hain koi bhi instrument, to iss ka matlab hain ke aap call option pe jaare hain. Agar aap put option ki baat karenge to iss ka matlab hain, you want to sell a financial instrument within the stipulated time period at a certain rate aur uski upar hain premium be defined karte hain depending upon the situation, to iss the basic difference, there are two types of options, ek call option hain, ek put option hain, put option mein aap bechte hain, call option mein aap kareete hain, I want to go for this particular financial instrument. Now, when we are talking about a call option, to call option ka matlab hain ke aap bhechna kareet na chaare hain koi bhi financial instrument ko, to waha pe iss call option mein ka hote hain ke jo buyer hain wo bullish hain aur jo seller hain wo bearish hain, iss ka matlab hain ke, for example, I want to go for call option, mujhe koi financial instrument option ke tor pe, a me commit kari ho ke mein esko leena chaati hoon, to it means I am going for call option, to being a buyer, I expect ke ye jo instrument mein iss keemat pe leer hoon, for example iss akati iss ki keemat 50 rupee hain, ek stock ki aur me expect karte hoon ke future mein, aat se 6 maa ke baat, ya chan maa ke baat, ya chan din ke baat iss ki keemat 50 rupee se baat jaayi gi, to jo buyer hote, call option mein wo hain me sia bullish hote hain, lekin jo seller aap zaira koi market mein bheche ka koi stock ko to hi mein kari chakti hoon, toh sre wo aadmi bheche ga, jo ke samaj raha hain ke future mein iss particular financial instrument ki keemat girne wali, iss ka matlab hain ki yaha, in case of call option, the seller will always be a bearish seller, wo expect kare hain ke market mein keemat girne wali hain, aur jo kharidahar hain wo expect kare hain ke market mein keemat bharne wali hain, aur ja wo bhar jaayi gi toh phir mujhe fayda hoega, this is what I am thinking, this is what I am foreseeing, hence I am interested in buying a financial instrument, aur iss situation mein jo seller hain wo bearish hain, jo buyer hain wo bullish hain, on the contrary, if we are talking about the put option to wo hain pe situation thodi sih farak ho jaayi gi, right, so we are going to discuss it in a while, but when we are talking about the fixed price on which the option contract will be signed ke ye keemat ke upar hum koi bhi option ko kharidne jaayi aur bechne jaayi, woist particular keemat ko hum strike price jaa exercise price bolte hain, so now there are two different categories ke humare paas options mein, we can classify the option as a european type option and american type option, abin dorono mein far kya hota, so if an option can be exercised upon the expiration date only, because jyasi humne shuruma discuss keya ke there would be a certain specified time period, made date ne bolri, time period huta hain in case of option ke aap iss particular time period ke dharan ya time period ke expire hone par aap ye particular cheez ko financial instruments ko kharid sakte hain ya bech sakte hain, sakte hain ka matlab hain aap ke paas choice hain, ki kya aap kharidne gay will be futures, to option mein aap kharid sakte hain aap ko choice mil re hain, right, now there are a number of financial institutions which are specialized in buying and selling the call and put options, jo options mein hi excel karte option mein deal karte hain, unka kaam ye hai, right, but at the same time there could be a number of investors jo ke futures mein invest karte hain, options mein hi jaate aur basic technical difference dono ka ye hai ke futures mein confirm hai ke aap ko wo kharina hi hai, options mein aap ke paas choice hain aap kharid sakte hain ya, nahi kharid sakte depending upon the market situation, now if you are bound to go for an option again choice hai, agar aap expiry date ke upar hi siraf apni choice ko exercise kar sakte hain to aapki option European type option kehlai gi, lekin agar aap us particular expiry time se pehle bhi agar is particular option ke right ko exercise kar sakte aap ke paas permission hai, allowance hai, to then the option will be categorized as an American type option, so whenever you go for an option, a call option or a put option, there has to be an expiry date, there has to be a strike price jiski jiski mat ke upar aap us particular financial instrument ko kharidne ki choice lene jaare right aur agar aap expiry date ke upar hi siraf us choice ko exercise kharin ge to aap European type option kehlai gi, agar aap expiry date se ishi bhi vakt pehle bhi aur expiry date tak aap ke paas option open hai ki aap apni option ko exercise khar sakte hain to then you are undertaking you have purchased or you have gone for an American type option.


Real is the gaming here and today we are on trains for days channel I came across this video sovereign mind now this video caught my attention because it's based on comments and friends and Well, not in solar island, but it is analog horror style. I've never seen a video like that So that should be interesting solo with that being said let's watch the video Good afternoon and today's excitement among many today as the scheduled total solo eclipse is to occur later this day The meteorological event is said to be best viewed if you're on the northwestern parts of England Northern Wales or best seen on the island of man or the island of so do Event has been reported to be quite significant according to astronomers as the eclipse path has been said to be an oddity of sorts That's the island of so do know the island man never Experienced any type of dimness of the Sun's light in the last few centuries Therefore, however many claim now that this is a once in a lifetime chance to witness with your bare eyes I'll now send it over to mr. Garfield who is so do what we speak Let you take it from here. Okay, so basically Even the local local commuters are quite anxious yet excited about this event right with me here is Sir Tom Hatt director of the Northwest Railway and the gentleman hosting this gathering. We see a tidbit So, sir. Well, what could you think is the reason behind the fuss? Well simply put this is the first total solo eclipse event to occur above solo since the bounding of the subterranean society I've once in a long time event Including me and my end. It's not right. Oh Dude, they got the whole squad James Henry Gordon It's just silly. It's just a moon covering the sun. What's so fascinating about it? Very unenthusiastic Gordon isn't very excited like we all are Of course, of course, they're likely to hear the input from the engine that Say Pacing like it's good Oh There was like some eyes at the top corner Okay, so the eclipse have started so what seems to trigger everything is this eclipse that has is going on on Sodor Island, which hasn't happened in many years So let's see Pardon me for saying this but I'm getting chills and goosebumps. What what's happened? I I say it's quite the experience The difficulty it do look kind of evil. Oh, I don't know Programming to bring your message from the her majesty government, please stand by and await further information All right, I'm I'm a little sign of regular programming to bring you a message from her majesty's government Please stand by and await further information This is an emergency warning from the home office Information of multiple fires and explosions had been reported in multiple areas of the northwest to civilians living in the areas of Manchester, Liverpool, Southport, Preston and more come our best advice to seek immediate shelter To those living in the following areas of Alveston, Ascom, Ravenglass, Sellafield, Dalton and Barrow in Furnace are ordered to return to their homes and await further Instructions from the Ministry of Defense Do not interact with anyone on the way home and do not attempt to cross any bodies of water More information is to arrive shortly All right seem like the catastrophe has happened So there's been explosion a bunch of things going on like a chain of events to be more precise Hey tic-tac-toe with the clown Who is that? Fatal error. Is it still on? It's it's wrong. I don't trust anyone The engines They are so quickly Stay away from the rails Don't approach any of the engines. If one of them castles your eye contact, you're done. Is that Thomas? I could have sworn I just heard James' whistle just now. That was James. Thomas What just happened? He said to avoid James and then he was right next to him as he turned Then it seems like he might have killed the guy after emergency warning This is an updated message from the home office The current situation has been elevated to critical all citizens within a 19 miles radius of the island of Sodor Are advised to stay indoors rail travel has been temporarily abandoned till further notice Access to the island has been restricted as well both entry and exit are temporarily prohibited The Ministry of Defense advises everyone to stay approximately 500 meters away from any form of railway for your own and others Safety local authorities are limited to help only those with minimal need and cannot help those who ignore the previous warnings The warning is estimated to remain through the entire meteorological event Right, so it seems like only the local motors are the ones that have been in range of a railway run as fast as you possibly can in the opposite direction If you are within your age, you're not going to understand the belly. Let God help you Okay I'm trying to see what this is, but I can't okay Thomas a tank engine with six mile wheels a short stumpy tunnel funnel a short stumpy boiler short stumpy dome formerly a branch line engine currently a husk Dude before and after the eclipse Okay assessment Make no noise do not approach Yeah, it looked like his eyes were disappeared or something. Okay, yeah, not Anomaly to Edward was an old reliable engine current status is known Wait, what oh Okay, so that was it. I was Edward the one that we seem at first assessment unknown Anomaly three Henry formerly a mixed traffic tender engine originally a prototype needed special code to be driven before and after redacted Assessment conjitive hazard not observed Gordon Nominal 4k formerly the formerly the express engine of the Wild Norwester status as of 1998 neutralized notes once it became autonomous Dang it anomaly five. Oh, this is James before and after Yeah, he definitely need to go to church, bro Need some Jesus in his life Okay, so as you can see you have to like decrypt these Morse code messages and I'm at least six Percy for footnote after the incident at Timot Bay with the Royal Navy all Data regarding the sound anomaly is to be expunged for the greater good of humanity. Dude. What?  All right, dude. This is a film by T4D Productions 2021. Wow. This has been since 2021 It's 2023 now Dude, this was like so well made.  I want like a series of this or something All right, that was like a 20 out of 10, bro I give it 10 10 out of 5 rows. It was amazing. All right So as we can see we did she like decryptive messages and like the Morse code and all that thing I was gonna go ahead and be like, you know, detect myself But I'll just go in the comments and I'm pretty sure it's like look at all this Let's actually try to decode this. Okay, so we got a translator here and then a convert It says xxx calm to find extra quiet you to decrypt the same way you decrypted in the tape to find Why go to 10 05 10 06. Good luck T4D case. Oh, yeah I did see like something pop up and I was trying to read it But it was too quick and it went away 10 of 4 or it was right here. They go. Okay, so there's like more more Not Morse code. Um, what's called binary code here? But your boy is just gonna go straight to the comments and see what it said Okay, decoding James formerly mixed traffic good engines anomalies now a Spatial edit. I'm done decoding here. We go James formerly wait James formerly a mixed traffic goods engine Anomalies now just spatial and temporarily entity not existing within our realms of reality. What? What does that even mean bro? I don't know what that means, but it definitely means something. All right. Well, um, I don't know if you can say What can this relate to the are they like SCPs or something? I don't freaking know but I guess we'll never actually know because he'd never continued this series I think it was just like a little standoff one episode type of thing. Sadly. It was amazing But yeah, it is what it is and shout out to a train for days one more time I'll link the video down in the description so you guys can check it out and thank y'all for watching And I'll see you guys in the next one. Peace


Hi, Jonathan. My name is Ashley and I'm working in the Internet Department here at Oxford Toyota. It has come to my attention through TrueCart that you are interested in a new Highlander when it hid and sent you over a little bit more information about our dealership. When you get a chance, please give me a call. My number is five-year-old two two one four seven one six six or you can also email me back. Thanks. Bye


He wrote an article about MDMA-assisted psychotherapy and John is the veteran who actually went through that. And he's here today. We're going to talk a little bit about more of that. And there's been a little bit of a reinvigoration of the psychedelic science, and it's even today actually, and in the past few days and weeks. But before we get into all that, John, tell us a little bit about your experience, your army and a Marine Corps veteran. Yeah, which it's funny, everyone's always shocked when I say that, and one of the big questions I get all the time is, well, I didn't know you could do that. Can you really do that? I'm like, yeah, I did it. Lots. It's a dual sort of. Yeah, it's not particularly common. But I did four years at duty Marine Corps, got out, nine 11 happened and I wanted to go back in. Yeah. The army was offering to let me be a helicopter pilot, one officer without a college degree. I was starting to get too old to be a pilot, always wanted to be one flu in the Marine Corps as an air crewman. OK. Join the army and then applied for war and officer flight training. And the war has gotten involved, I'm sure. Right. They kind of throw a wrench into your plans. Well, my unit got put on alert and so they're like, that's all good. You'll get a Fort Rucker when you get back deployed to Iraq in October 2005, came back October 2006 and then started having issues right away. Yes, let's talk a bit about this. Now, you were part of the MDMA assistance psychotherapy session. So to even clear that barrier, you had to be a veteran or a first responder and you have to have PTSD. So in your case, how did PTSD manifest and how did it come about? Well, one, I do want to do one small correct. Sure, please. Yeah. That's why you're here. Yeah. The study that you're referring to was 26 people out of 179. OK. So that was the only one that was limited to veterans and first responders, as a matter of fact, most of the people who have gone through the phase two and phase three maps, clinical trials have actually been sexual assault survivors. OK, interesting. And it's also for MDMA. Yes. OK. It works for PTSD. It really doesn't matter what your trauma is. Right. Right. Right. You know, if you have PTSD, you have PTSD.  We can keep going on traumas for forever. Unfortunately. But no, and the trials have been open to everybody with PTSD. They did group one together this 26 that was specifically looking at veterans in the hopes of getting the evidence that the VA would want. Yeah. So I know these these trials were so successful that they were granted breakthrough status by the FDA. And we're talking about again, MDMA is, you know, it's a compound that has been associated with party drugs in the past, but it really is. Let's say the elephant in the room. All right. MDMA is the active ingredient in ecstasy known as a club drug, going to rage. We all learned it there. Yeah. Yeah. And all of these things. It was not originally made illegal. Right. It was made illegal in on July 1st, 1985, actually against an administrative law judge's ruling that there was therapeutic value and something that actually represented Crenshaw said in its testimony today. What if the research hadn't stopped? Yeah, I think that's a good point because in the the recent years of psychedelic it's a renaissance there. They're picking up where the 60s left off because, you know, there's coming out of a lot of people in the 60s and 70s did hallucinogens all of a sudden it becomes a cultural and a political issue. And then the big hammer of federal law comes down and it kind of stopped everything. Right. And what we're seeing today and what you're a part of what you're advocating for is really this picking up where it's left off decades ago and we're finding compounds MDMA psilocybin, which is the active ingredient in magic mushrooms, mescaline, right? Even LSD, 1963, there was a study saying that's a cure-all. I'm just saying there's a history to using these compounds in the therapeutic clinical. One of the founders of Alcoholics Anonymous said that LSD was the 13th step. That's what had made him quit drinking. That's just his point of view. That's his point of view. Yeah, that's his point of view. But, you know, it's been proven highly effective. An organization I work with called ApolloPact, one of the founders, John Costacopoulos, was a New York newscaster, suffered from alcoholism and went through the NYU psilocybin trial. And now, you know, his alcoholism and the trauma that started it is gone. And see, this is the thing.  Here it is, big pharma yet again. And one for the record, MAPS is doing clinical trials. That's the Multidisciplinary Association of Psychedelic Studies, if I get that right. Multidisciplinary Association for Psychedelic Studies, MAPS.org. And they're doing clinical trials on cannabis for PTSD and veterans, in part from a grant from the state of Michigan of just under $13 million. Wow. Two of the sites are actually within VA hospitals. Yeah. There's a recent article that came on The New York Times a few weeks ago. There's one in the Bronx in New York City. So I was actually talking about cannabis. Okay. So MAPS is doing MDMA and cannabis. Right, right. But one of the big differences between medical cannabis, which is highly effective, and the psychedelic therapies is, I did MDMA three times, it'll be eight years ago, November 22nd of this year. Yes. I want to get into that. Yeah. Your experience. It is not a take-home dose. No one's giving you MDMA going home and say, hey, have a party, good luck. Your, it's MDMA-assisted psychotherapy. What I know about just reading this and interviewing you and doing research on this article is that MDMA, what it does to the brain is it kind of lowers the barrier for information to pass. Things that are very hard to talk about. Trauma, right? Well, it needs to be amygdala, which is, which is the- I knew you were going to get the scientific stuff there. Oh, and I'm not a scientist, but the amygdala is the part of your brain that's your fight or flaunt, fight or flight response.  Well, for people on PTSD, it's like that times a hundred thousand all the time. And so what the MDMA does is you could talk about the trauma without having that physiological response in the body. The other thing- Interesting, okay. The other thing it does is it helps with bonding. I mean, it's called a love drug for a reason. It's important to have that with a therapist.  And let's be honest, most veterans don't have a good relationship with therapists because we're always scared, you know, hey, if we go talk to the doc, you know, about these problems, I'm going to get kicked out, I'm going to get in trouble, et cetera. And so we don't really trust a therapist. Well, this helps with that. You know, with me, I actually had, when I was a little kid and my parents were getting divorced, I had a therapist breach trust and told my abuser what I had been saying. Rather than reporting it as legally required. So I actually had that on top of the military, reinforcing, you know, don't trust therapists. So I had a big barrier just with any therapist. And that goes away. But it also elevates the prefrontal cortex, which is like your emotional processing. So it really is kind of like custom made for PTSD. Interesting, yeah.  Who could be against that, right? Yeah, but you're putting in the work is, it's MDMA assisted. So it's not the main star. It's like a really good co-star. The real game you're going for is the psychotherapy. It just makes it a little easier. Yeah, you've got two specially trained therapists in the room the entire time. And the therapy's the work. All the psychedelic does is put the mind, body and spirit in the place it needs to be for the therapy to work. Because that was the block. My body and my brain were stopping me from being able to process anything. So therapists didn't have a lot that they could do. This allows that to happen.   Why?  And so that medicine allows them to reset that leg. And then you go and you do physical therapy, right? That's just like the integration you do, which is not under the influence of any drugs or anything to process all the thoughts and emotions and everything that came up during the therapy in addition to processing it while you're actually under the influence. So this is showing how PTSD is a mental injury. It is not a chronic lifelong mental illness. And the phase three trial shows that 67% of people no longer clinically qualified as having a diagnosis of PTSD. An additional 21% had major reductions in symptoms. That is like off the charts crazy. I do have to throw this in there so the FDA doesn't get mad at me. These are clinical trials, they're not FDA approved, there are risks. And one of the things I will throw out, you know, again, you'd mentioned like you can't just go do MDMA and be okay, especially if you have severe PTSD because you need help processing all of that. This is done under the care of scientists and doctors. It could be very dangerous. And the other thing that could be very dangerous is a lot of veterans are prescribed SSRIs and taking MDMA while on SSRIs is very dangerous.  But when I took it, you know, I felt fantastic, you know?  So it was done in a safe manner in a safe environment. But nobody bats an eye if it was a broken leg. We will spend millions of dollars treating a soldier, a Marine Airman, Sailor, Guardian, whatever. Coast Guard, Coast Guard. Coast Guard, I love my Coasties. They save my soldiers. Campbell, you got Guardian, Space Force Guardian in there before. Yeah, and I love my Coasties. Shout out to the Coasties, helicopter rescue swimmers and crew, rescue my son off a cruise ship once. Wow. That's a whole other story. Yeah, love my Coasties. But, and I forgot where I was going. That's okay. Well, that's okay. I'm here to bring us back. So, I wanna talk about this Netflix documentary. That you're in, so it's this mini series called How to Change Your Mind. It actually premiered tonight or maybe midnight last night. It came out. 3 a.m. Eastern time. You can watch it now. It's specific. And it's based on a book by Michael Pollan. And the book is called How to Change Your Mind. And the thesis of the book is there are new and promising clinical applications for psychedelic drugs. And he kinda does experiential journalism where he kinda does it himself and reports back. But what this mini series is doing is it goes through four psychedelics. And you're the MDMA episode, episode three, I believe is what it is. What was that process like? How did you get involved? And why should people watch it? So one, the process was completely crazy cause it actually filmed like a year and a half, two years ago. Okay. COVID. So, it was, and actually it was filmed at the, hopefully I'll pronounce this right, the Aguila Cancer Center in Rockville, Maryland where there is a psilocybin and MDMA research site. So you're filming with Johns Hopkins University? No. They have a Psychedelic Science Center there. Yeah, it's not affiliated with Johns Hopkins, it is affiliated with a hospital. I just don't know. It's the Aguila Cancer Center. Where they're doing psilocybin in cancer patients and then MDMA, it's an MDMA expanded access. So that's where it was filmed. So the COVID stuff was just, it was insanity. But you sit there and you film for 12 hours and I'm on screen for probably maybe five, 10 minutes. But I was really happy with the whole episode in general. I'm really glad with one of the things I say in there is and it's really true. My story is very similar to millions of other veterans. Where it gets different is I took MDMA three times seven years ago and everything I've been able to do since. And forgive me if I'm overreaching here but you would say that you are cured of PTSD. Is that what you say that? Or has it just managed your, you don't want to talk about it, it's okay. No, no, no. Here's the problem I have. I have what the FDA says I'm allowed to say. Okay, well. But here's what I'm saying. I don't want to get you in trouble. No, here's what I'm saying. I don't want to get me in trouble. I do not have any diagnosis of PTSD and I personally believe that I am 100% healed from PTSD. And I'll say I've done a bunch of really, really insane things have happened since I went through it. I had a gentleman drowned in the lake behind my house. I dove in, pulled him out, did CPR. There was a gentleman shot in Charleston and rendered aid to him as well, did CPR again. A lot of traumatic experience here. I also just got back from two humanitarian relief missions in Ukraine. So I went back to a combat zone. And I'll be perfectly honest. I had less anxiety over there than I did when I was in Iraq. Interesting. Well, I think we're getting to the end of the time here. But I kind of also wanted us to spell out what DAV's position is on this. DAV, we're a resolution-based organization. And we have a resolution that has to deal with finding alternative therapies to different ailments. And I think the fact that the FDA kind of fast-tracked this MDMA trial that says, wow, this is granted breakthrough status, right? Well, they fast-tracked it once the phase two results were known. Because MAPS was founded 36 years ago right after MDMA was made illegal, specifically to take it through the FDA process. So they've been working three and a half decades of the week. Three and a half decades, but we're getting to the finish line. And I'll throw this out there, both DAV and MAPS, DAV.org and MAPS.org are nonprofits. We all need donations, go both websites. Yeah, yeah, yeah. Interesting, yeah. Well, awesome, John. I really appreciate you making the time and coming out here and getting caught in the rain on what you guys have been telling us. But I really appreciate it.  Yeah, anytime. You can reach out, again, maps.org. If you're interested in the MAPS clinical trial, you can go to mdmaptsd.org to register and see if you qualify. If you don't qualify, honestly, the biggest disqualifier is geographical. But you can also go to clinicaltrials.gov, which lists every clinical trial in the U.S. for literally anything. Just do a search for psychedelics, psilocybin, MDMA, and see if, and if you're interested in the trials, you can apply that way. And again, DAV, we're not advocating specifically for psychedelics. We're just whatever works, you know? Leave no stone unturned. And if some of these compounds have effects, have positive benefits for veterans, it's definitely something we should explore. And it doesn't work for everyone. Like, you know, there's 12% of people that showed no results. And this is the thing, with veteran suicide and PTSD, the way it is, not just amongst a veteran population, but amongst the population in general, you know, we should leave no stone unturned. For some people, going to church or going to the gym or yoga is all they need for their PTSD. For some people, you know what, as Olaf today keeps the doctors away.  All I'm saying is the entire cornucopia of solutions should be investigated. And if it works, it works. Let us use it. There you go. You've had it. Thanks, everyone.


My paper is called Vanishing Acts Shantel Akramans from the Other Side. Political strategy on the left has long been predicated on an assumed link between visibility and empowerment. While justified in many ways, this approach is not without its limitations. Visibility can lie like a trap, argues feminist historian Peggy Phelan. It summons surveillance and the law, provokes voyeurism, fetishism, and the colonialist imperial appetite for possession. A 2002 video installation by Shantel Akraman tests Phelan's assertion against the frame of United States immigration policy at a time when border surveillance technologies worth more than $2 billion galvanized the link between perceptual and political domination. A time when, for those whose rights are underrepresented, vanishing may paradoxically offer, at least provisionally, more than being seen. I had a little trouble with this. As Akraman's installation from the Other Side demonstrates, if surveillance functions by expanding the scope of the visibly traceable, producing an artwork about the U.S.-Mexico border, an artwork that can stand up on the side of human rights, may well preclude the practice strategy of calling for greater visibility to the hitherto unseen. Akraman's piece reworks the artist's documentary film from the same year, an unsentimental ethnographic record shot in Aguapieta, Muxco, and Douglas, Arizona, and in the surrounding Sonora Desert and Sierra Madre Mountains. The installation juxtaposes dozens of looped fragments from the film with original videography and surveillance footage appropriated from the United States INS. A tremendous surfeit of audio-visual data dispersed in three spatial enclosures across 19 monitors and one wall projection. Despite this sensorial surplus, the installations underto pulls towards a filmic register of critical invisibility. Not without ambivalence, it offers disappearance as a means of undermining the ideological regime of mastery through vision, a fantasy hardwired through centuries of Judeo-Christian thought and reaffirmed ever more in contemporary American political culture. Disappearance functions in Akraman's installation as a mode of resisting the authority vested in three forms of spectatorial power. Ethnographic documentary, surveillance, and art spectatorship, the latter of which we probably won't have time to address in the presentation but maybe in the discussion period afterwards. In taking up Akraman's dialogue with traditions of surveillance and ethnography, what follows here also illuminates the relationship between the trope of disappearance and her shift in this recent work and others from the art of making films for which she is widely renowned to an installation practice melding documentary with multi-channel video display. Akraman has described this shift in pragmatic terms. The art world thirsts for installation but has little appetite for experimental film, and yet the initial fault lines that would lead to this break can be detected in her earliest works dating to 1968. Forming through feminist critique and Marxism in the wake of French New Wave and Jean-Luc Godard, her unmistakable style has distinguished itself from conventional cinema, particularly its naturalization of narrative illusion. In contrast, Akraman's work exposes the medium's material constructiveness through a constellation of formal strategies including frontal framing and disturbances in single point perspective, voiceover and quotation rather than close ups or dialogue, slow moving action and attention to everyday details at the expense of plot driven narrative. In many ways, the market shift to spatially complex multi-channel video installation can be seen as an extension of these techniques. A more decisive response to the reservations her work has long borne towards the strictures of conventional filmic representation. Not insignificantly, each of the films Akraman has transposed in three dimensions are ethnographic documentaries. The installation practice first emerged two years after the 1993 release of her documentary from the East. That film traces the forced migrations of Jewish families including Akraman's own, eastward across Europe through the trauma of the early and mid-20th century. Subtitled bordering on fiction, the installation excerpts various segments from the film and sets them adrift in a multi-channel installation. Even as its slow moving pace recalls the weight of history, the installation seems ultimately to offer nothing but the complete withdrawal of narrative meaning. Indeed, as its voiceover indicates, if the documentary extends from a desire to register some form of truth, Akraman discovered that what the film had in fact recorded borders on fiction. The installation responds to that condition by placing its fictionalness in full view such that all pretends to representational verity, fragments, disperses and finally disappears. Akraman's from the other side proceeds from much the same point of departure. It too reworks a film that lies at the margins of a genre fraught with historical and ideological implications. Ethnographic film is predicated on the assumed transparency and objectivity of the camera's lens. Invoking the real, it reinforces the myths of objectivity and authority conferred to anthropology more generally. A discipline that cannot be understood in isolation from colonial epistemology and the logic of racial difference. If Akraman's documentary on the US and Mexico border proposes an alternative by making use of the counter-traditional strategies that have marked her films since the 70s, it also reproduces some of ethnographic film's most characteristic pitfalls. Its use of interviews for instance, interrupts Akraman's consistent preference for voiceover, quotation and other forms that avoid and discredit the assumed transparency of frontal address. Instead, as in this frame, Akraman's camera here performs just the kind of illusion ethnographic film is designed to produce. A face-to-face encounter whose aura of authenticity rests on the viewer's absence as an unseen voyeur. That the installation includes these confessional sequences suggests a retrospective impulse to rethink the film's unwitting attachment to the power relations implicit in documentary filmmaking. By including some of the film's most classically ethnographic sequences, the installation draws that relationship into sharper relief in order to question its authority. For a film whose ethnographic subject is also the object of military surveillance, as is the case here, the drive to engage critically with ethnographic form takes on certain urgency. Established during the colonial era and coinciding with increasing administrative needs to know, represent and thus maintain authority over the other, both surveillance and ethnography aim to track and render the other as a visual object of study. Both construct and represent economies, excuse me, both construct their representational economies as transparent making heavy claims to realism, authenticity, completeness and truth. Such is the ground plane against which Akraman's installation from the other side poses its critique of visibility. If the move from film to installation allows the trope of disappearance to be articulated through dispersal and fragmentation, since through fragmentation, ethnographic coherence vanishes from the representational field. The primacy of the invisible gains potency through a critical simulation developed in the second of the installation's three enclosures. It contains 18 television monitors arranged on waist-high plinths in six staggered rows. A walkway divides the rows three to a side. Arranged thus, the screens present a shifting and disjointed montage, some dozen looped sequences of identical duration, roughly 10 minutes, but strikingly varied content, drawn from the documentary and other sources, a wind-torn desert marked by a sign portending dead end, lines of cars inching towards a border checkpoint, neighborhoods built of concrete and corrugated aluminum, spoken testimonials of local residents, the crosshairs of infrared surveillance. With this multi-screen format, what is seen depends fundamentally on the spectator's shifting point of view in time and space as he or she moves along a chosen trajectory. Crucially, from no one vantage point, are all 18 screens simultaneously visible. Drawn in by one sequence, the spectator misses all simultaneous sequences that cannot be seen in peripheral vision. The rows of monitors thus become physical obstructions, blocking lines of sight, and thwarting any attempt to absorb or synthesize the totality of audio-visual data at play. Queued by the clips appropriated from the INS and by a structural reference to the banks of monitors in a communications patrol station, this sensorial confusion gives the lie to the fantasy of surveillance. The manic surplus of moving images exposes the sheer impossibility of perceptual authority, the fiction of the truth effect, of a dominant discourse of the real. Notwithstanding the fact that new data technologies by now vastly surpassed capacities for data analysis, since 911, the mystery of mastery, the myth of mastery through vision has only gained momentum, building on a centuries-old ideological foundation in Judeo-Christian culture where the understanding of divine omnipotence derives from notions of omnivoyance, as in the phrase, God is watching. Power and sight bind together etymologically in Ackerman's native French, where the word, power, povoire, shares a root with the word to see, voire. The link between vision and power extends equally meaningfully through the history of representational form, political culture, and military technology, emerging now most distressingly in the US Gulf Wars and its policy towards the border it shares with Mexico. In Ackerman's installation, however, by calling attention to the fact of the unseen, the piece works against totalization, against the gaze that admits no point of view, a perceptual assumption that has remained central to the construction of surveillance technology, as well as classical cinema, not to mention mainstream current events representation. Ackerman's ellipses disrupt that gaze, splintering it, dispersing it spatially as well as temporally and frustrating its claim to a comprehensive view. If the dialectics of ellipses and surplus destabilize the logic of surveillance, the piece takes the trope of invisibility much further in four spatial iterations of a 10 minute looped sequence introduced in the first enclosure and repeated three more times in the second and third rooms. The sequence is shot at night from the windshield of a car traveling north towards Los Angeles. Tail lights of commuters stream red towards the horizon, highway signage rushes past green overhead. The loop closes with a sudden cutaway to a shard of INS aerial surveillance. Throughout a voiceover in Ackerman's monotone, heavily accented English, recounts again and again the story of a woman from Mexico who after immigrating to the US illegally and working without documentation for some time loses contact with all those who once knew her and is never seen nor heard from again. The narrative continues as an incessant stream continually recalling the last woman to mind. The woman herself, however, never once appears on screen and as the voiceover affirms, never appears to those who search for her neither to her son, David, nor to her former landlord whom the narrator interviews for leads. Further distancing the fate of the last woman from the spectator's mind's eye, Ackerman refuses to grant complete access to the story. While the voiceover repeats again and again from four sets of speakers dispersed throughout the three rooms, in each case a medium projection volume continuously subjects its integrity to the jarring interruptions of multiple soundtracks emitted from the many other sound assemblies in the space. The muted shutter of a helicopter, the static of walkie-talkies, the wind coursing through tall desert grasses, spoken testimonials, and so on. The voiceover is itself quite garbled, textured, and at times difficult to decipher. By these measures, the narrative's audio presentation denies all efforts to grasp the sign of the last woman. As Peggy Phelan shows of Yvonne Rayner's 1985 film The Man Who Envied Women, by displacing the last woman from the frame of the visible, and by stressing the fact of her disappearance within the narrative, Ackerman ensures that her invisible protagonist saturates not only the psychic space of the narrative characters who search for her, but also the cognitive and psychic space of the spectator, who is left to wait in vain for some fragment of the protagonist's figure to appear on screen, which it never does. It is not insignificant that Ackerman has chosen a female protagonist to articulate the trope of disappearance. As feminist film theory has long maintained, heterosexual male gaze and its gratification remain integral to the structure of cinematic pleasure. It is a gaze that fetishizes cinema's female heroine as an object of desire and possession. Instead, Ackerman's installation locates its protagonist in a figure who refuses to be represented visually, a female subject who eludes the gaze and obstructs its reifying operations. The pertinence of this feminist refusal as it functions here may be usefully expanded as a critical reference to the instrumentalization of marginalized people and mainstream representation, including ethnography, but also news media and its account of border crossers and migrant workers from south of the border. The mark of invisibility deepens further in the 90 minute wall projection shown in the installation's third and final enclosure. When the projection begins, it appears to fill no more than a small square centered in the middle of the wall. Within this restricted field, the by now familiar highway sequence repeats in loops. The night, the streaming taillights, the steady automotive progression, the voiceovers, the gubrius and monotone account. As the projection continues, however, the darkened wall around this small square slowly begins to lighten and take on color. It soon becomes clear that the 10 minute highway sequence, along with its voiceover describing the fate of the vanished woman, is in fact being projected repeatedly on a large outdoor screen installed in the rugged foothills of the Sierra Madre Mountains. This, in turn, is filmed in nine cycles during the 90 minutes before and just after dawn. As the sky brightens gradually, the early dawn begins to bleach the light-dark contrast required for the looped highway sequence to remain visible on screen. With each 10 minute cycle, the light brings the surrounding landscape to life, but drains more and more content from the increasingly ghostly highway sequence before finally reducing the outdoor screen to a blank expanse that reflects nothing at all, a tabula rasa that denies the spectator the illusion of a privileged view through a window onto the world. If the voiceover, which persists through the 90 minutes at an unchanged volume, continually recalls the last woman to the spectator's mind, as the voiceover's visual analog finally dissolves into the light, Ackerman removes even the deferred possibility of tracking the missing woman of surveying her visual trace. In her evanescence, she defies surveillance. Ackerman's insistence on invisibility is not free of ethical ambiguities. Her protagonist's absence on screen in some ways serves implicitly as an affirmation of the undocumented status and social invisibility of illegal guest workers. More concerning still, aspects of the voiceover and the absent woman's defiant absence seem even to signal the possibility of her death. Perhaps Ackerman intends this uncomfortable parallel not to affirm but rather to expose conditions of social invisibility. Somewhat troublingly though, the installation ultimately leaves that question open for debate. But immigrant empowerment is perhaps not Ackerman's principle impulse here. The project seems more than anything to reexamine the politics of vision itself. In this sense, the protagonist's disappearance, well deeply concerning, is also the story of a potentially radical evasion, one that defies surveillance and spectatorial authority and that by its invisible, by its invisible, not here, refuses interpolation. Furthermore, as a critique informed by feminist theory, by working against a visually oriented social and economic order, the installation suggests an intriguing counter-model that rather than granting perceptual gratification, opens up new lines of inquiry by restricting representation to the less trampled space of cognitive, psychic, and imaginative experience. Thanks.


So thank you for allowing me to share Something I've been doing for many years on my channel is of course having lots of really cool Anime and comic book wallpapers. Yes, I'm gonna tell you exactly where I find these wallpapers How I get them and of course I'm showcasing them on the galaxy note 10 plus Give me some of the best wallpapers here and I was gonna do like a top 10 But I just kind of get carried away and you're gonna see a lot of wallpapers here So just rest assured. I'll have the Pinterest thing for you guys below now That's the first thing I'm gonna start off with is that he's telling you that look if you want to check out any of These wallpapers or any more that I have follow me on Pinterest. It's border work on Pinterest I have an anime and comic book wallpaper paid board and I've got all my wallpapers there I might make a separate board just for this video But I put all my wallpapers there and that's also the very first place I look for new wallpapers because I get referred new wallpapers by Pinterest And I also follow a lot of comic book and anime boards on Pinterest as well So I've got a nice space to check for new wallpapers, but the other place I go to is actually Google search I type in a character I like or if it's a new anime I'm watching or it's a comic book I haven't read in a while I just type it and I search for wallpapers in this case I'm typing all my 4k wallpaper if you watch my hero academia great anime But that's how I do it. I go I scroll through and I look for wallpaper and once I find it boom I add it to my device and Especially the galaxy note 10. It's a great device for wallpapers that hole punch is Centralized, but it still works out really well and the display is It is best for looking at wallpapers. Anyway, let's dive in and take a look at some of the wallpapers I've selected for you guys in this video. So our very first wallpaper is Superman just punching through I like this because it really stands out. I'm a big Superman fan and you can see how powerful the imagery looks It's so much details of wallpaper and the note 10 really takes advantage of it doesn't hide the hole punch and it looks absolutely stunning Spider-Man looks fantastic in this wallpaper. It doesn't matter if you're writing on the screen obstructing the view it still stands out what I like about this wallpaper is that even the hole punch is taking advantage of you can See how the webbing attaches to it, but the detail and simplicity of spider-man in this wallpaper Makes the galaxy note 10 plus look amazing and it is so good so good Now this is a highly recommended wallpaper. I'm sure you've seen other sites talk about this I like it because it's it's just straight to the point It's a stormtrooper in action a lot of detail white and black contrast The hole punch is covered up by the stormtroopers helmet. It's just solid. It's a nice thing to have and Definitely worth adding to your collection Yes, I'm back with another Superman wallpaper, but this one captures the imagination It hides the hole punch well with of course a descriptive nature Superman Lifting up a moon the colors pop out when you look at the whole display. It's just a sweet wallpaper. Ah Yes, this is one of my favorite wallpapers Kashi sensei Sharingan is out. I love because it just pops out I mean, there's a lot of Soft to color contrasts here, but the red from a sharingan is quite visible in any angle I like that with this it just really shows plus your whole punch is blocked off because he has the headband Detailed wallpaper. I think a lot of people like this because it just takes you right in and makes your device Just look really cool and out of this world So one of my best wallpapers on Pinterest now you guys have asked me what kind of apps I use on my device What's on my device if you will and yes a bunch of applications I'll just give you some of the things I use are include smart things smart things app I've got a lot of devices on there. This is just something I've been using Way before Samsung even bought the company I like it because I can also check my laundry and actually set up my laundry scale Which is a whole side thing entirely but also do a lot of gaming on my device And I've been using the g-lap controller, which is which watch we saw in the Samsung press event There's a way to map it out. There's an app called Panda to help you do that so you can go ahead and play some Street Fighter And also play things like of course PUBG and Call of Duty on this Effectively now when they see some wallpapers are fire. This is exactly the wallpaper. That's absolutely fire From the first time I saw it I say look I've got to have this wallpaper. It looks so good. The Joker looks evil The detail in the wallpaper is fantastic. It shows just color range How I mean just looks good on the note 10 plus. How could you go wrong with this wallpaper? Pick it up So hopefully you guys enjoyed all the wallpapers in this video because I did using a lot of them on a Daily basis on my galaxy note 10 plus and hopefully you can use it on your device as well I think the note 10 plus is great for wallpapers released highlights, especially that joker wallpaper I love that even the spider-man want to and look I can go on because now I'm thinking about the Superman wallpaper and then I've also found you know that God of War wallpaper That's how I like wallpapers, you know, like it's it's my form of just styling my device And I think if you like that too, it's a great thing So I'm gonna leave the links for you guys down below. You can check out all the wallpapers there I will make a custom link now. Let me know if you want me to actually do this as a monthly video I would definitely do that as long as you guys watch share and You know forget a lot of views on this and a lot of likes on this video will be great because you know I can spend more time making videos like this because you guys are asking for it So thank you very much guys. Don't forget to like share subscribe and always enjoy entertainment