Γεια σας και καλώς ήρθατε σε ένα άλλο βίντεο καρδίκο, σήμερα θα έχω ανοίγηση με κομμάτια, θα παίξω με τη νέα κομμάτια. Αυτή είναι η νέα αδίσσια για την very popular collection by Studio Light και υπάρχουν νέα κομμάτια που μπορείτε να παίξετε να κομμάσεις τις φαίσεις σας. Αυτό είναι πολύ πιο σχολοί και έχετε πολλές φαίσεις, πολλές φαίσεις, μάθες, χαρστάσεις και ακόμα πολλές φαίσεις που μπορείτε να παίξετε. Σε τη νέα κομμάτια έχουν τη νέα πράγματα. Τα νέα θα δημιουργήσει μια μεγάλη μεγάλη μεγάλη κομμάτια που βλέπει να κάνει ένα κομμάτια στο κέντεο. Η νέα νέα είναι η Πρή Μαρίνα και μπορείτε να μάξετε όλες τα διαφορετικά μάτια με την προηγιότητα όχι όχι ότι έχετε. Έχει έναν νέο στον ταμείο που βλέπεις σχολείς για τα νέα και σε σημερινές. Εντάξω να χρησιμοποιήσω δυνατές για να μπορείτε να δείξετε πώς everything works και θα ξεκινήσω με τα νέα για να χρησιμοποιήσω όλες τα δυνατές μου, θα χρησιμοποιήσω αυτά τα νέα πέπρα. Η πρώτη νέα θα δημιουργήσει καλύτερες σκηνθόνες σε ένα βαραιό της λόγας με τη νέα και η δεύτερη έχει περισσότερες παστέλες λόγες που μπορείτε να χρησιμοποιήσεις για τα δυνατές. Η καλύτερη λόγη για αυτό το νέα πράγμα είναι ότι δεν δημιουργήσει μόνο τα νέα, μόνο ένα πράγμα όπως μέσατι θα χρησιμοποιείσω και πράγματα και λογές. Και θα κάνω τα στιχεία μου, δημιουργώ έναν πράγμα της λόγας για να χρησιμοποιήσω π Uh guards για το χαρα, και και το άλλο από τη λόγη για να χρησιμοποιήσω ο νέα πράγμα. Θα χρησιμοποιήσω επίσης όλο τα νέα πράγματα και θα χρησιμοποιήσω ο νέαθάρας επίσης one more time ό 200 θα θέσω να βρήξω ένα κουλίφι αέσοδη αύτού του ίδιο. Επίσης εγγραφίζω αυτό το βόδιο one more time from white cardstock και τώρα εγγραφίζω με βασικές βασικές που μπορούν να είναι χρησιμοποιημένοι για να δημιουργήσουν διαφορετικές εξέσεις. Τώρα να έχω όλα τα βασικές εξέσεις, σκέψω και είναι η ώρα για να ασυμπηθεί η μου γερνή μου. Εγγραφίζω με τη φεύγη, σκέψω τα ώρα και τα νοδιά και μπορείς να είσαι πιο καλύτερη από εμένα και μπορείς να gebruεις διαφορετικές οικονομές για τα ώρα, για παράδειγμα, διαφορετικές οικονομές ή μπορείς να χρησιμοποιήσεις για τους μάτσα, χρέος ή δυνατόρως να δώσεις έναν μετάπιφα μου. Θα καταγγωρώνω σινά με ουαλή. Εν αυθενότι, δε θέλεις νας να χρησιμοποιθεί η μου γερνή μου για στη ζωή, μπορείς να κάνεις μετάνες feeling με τα αυθενότητα για το κόμπωτο. Σε εδώ για παράδειγμα τώρα θα τα προσέψω λίγο από χριστο για τηρτωόμα but you can do that with your alcohol markers if you feel more comfortable i just like this brush because it doesn't add too much and i know i can easily blend it out i'm also going to give her some shading on the face so that she doesn't look as flat i'm not overdoing it just the shade darker is going to do the trick and of course you can do that with your alcohol markers as well an easy way to go if you like coloring with alcohol markers is to cut out everything out of white cardstock and then go and color all the parts and since i'm going with brown hair i'm adding a touch of inking on all the brown parts just a shade darker than the actual cardstock and i'm repeating the same steps for all the cutouts so here for her outfit i'm going with an orange on the sides as well as on her ribbons for the hair and although i am using this girl for a card today don't forget that this is quite big so it would make a great focal point for an art journal as well if you are into mixed media you can even give her wings or add lots of flowers on her hair the sky is the limit really now of course the dissect gives you many different options for the hair i just went with the two bands on each side which i find really adorable and you can use just one at the top you can have them even lower just changing the hair and the facial expression is going to give a completely different look on your girl and a completely different character so i'm sticking the yellow outfit on top and my girl is pretty much ready i'm going to give her a necklace so i'm stamping that with black ink and later on i'm going to add gems along that necklace to give some sparkle on my card i did cut out a couple of strands for her hair i'm going to stick them there and you can have so many different variations using different colors for the outfit different colors for the skin tone as well as for the hair different styles and colors the sky is the limit really with this type of fat eyes now to bring her more to life i'm using my white gel pen and i'm going to add some white on her eyes it is a little detail that really makes a difference since it helps those eyes pop even more a little heart is also included in the set so i did cut it out and i'm going to stick it there just as an embellishment and finally let's put together the card so you can see how big it is this is a standard card that i'm going for 8 to size 4 and a quarter by 5 and a half i do have a panel that is slightly smaller on the edges so you can see that patterned paper with the rainbow colors that i used underneath i'm going to add some foam tape at the back of my gel and stick here on top of my panel so you can see here how big she is she really makes a statement as a focal point on top of a card it makes it really easy to make a card since it is a big focal point and you don't really need to add anything just a simple hello for example or a small segment on the side and you are ready to go and this hello was one of the dies in the same set along with a speech bubble that i'm working on now i just cut it out from the same card as i did for her dress and so everything matches perfectly i also die cut a white hello which i'm going to stick on top of that speech bubble and with some foam tape at the back i'm going to pop it on top of my card now i'm going to give her some jewelry and i do have these gems as well as these epoxy stickers i'm playing around and trying to decide which ones i want to use these are all included in the cymos stamp card kit the june card kit and i keep them on my desk so that i can use them again and again on my upcoming cards so i decided to go with the yellow gems and i'm going to give her two of them in a row you can also use those as earrings if you like i do have those hair strands so i'm not going to give her earrings but it is an option for you and here are some close-up photos on the first card for today where i used the mrs dies to create a big girl now for the next card i'm going to use the stamp set this is going to end up in a smaller girl but i can still play along and create even the same look as the first card so that's exactly what i'm going to do i'm going to play and try to recreate the first card but smaller and since my girl is going to be smaller it is not going to take as much space on top of my card so i cannot even more elements and i'm going with a pet and of course the stamp set gives you many options different eyes i went with these ones different hair styles of course i went to do with the buns since i'm trying to recreate the first card a big variety of mouths in different expressions and of course different options for her outfit you will also find necklaces or earrings lots and lots of options to play with and you can come up with so many different looks just with one stamp set you even get glasses i don't know if you can see that it is a really fun stamp set to play with and to have in your stash i didn't have anything similar and i like how unique it is and now i'm grabbing my alcohol markers i'm going to give her some color and since i cannot stay away from dimension on my cards i'm going to cut her out i am leaving a little bit of a white border all around her this makes the fuzzy cutting easier and it's going to give me the opportunity to use some foam tape later on and pop her on my card i'm going to do the same thing for the cut with a balloon and i also created a Polaroid frame by using a square die inside a rectangle die i'm going to use this blue pattern paper and i'm going to use that as the background for my Polaroid photo i'm just going to glue the down and cut out the excess with my scissors and i didn't add too much glue at the bottom of that Polaroid so that i can easily tuck inside my girl you will see what i mean in a bit just make sure that you don't have glue all the way to the edges at the bottom and what i usually do with my cutouts is to audition them just put them down try to decide where i want them to go once i'm happy i can use some foam tape at the back and stick them down i'm also going to use the smile sentiment this comes from the clear stamp basic wishes it is a great stamp set that has a lovely script sayings along with typed font i like to combine those two and now here i'm just playing with different elements these are clouds a cloud die that i had in my stash i just cut out a couple of clouds i'm going to stick them there to embale the Polaroid a little bit more and to give the illusion that the cut is actually flying with a balloon up at the sky and you can see that just by having that gear smaller i can do lots and lots of things on top of the card so i can have a pet i can even create a Polaroid that fits on top of an A2 standard card size now i'm going to give her one of those dots it's an enamel dot and it's going to work as her necklace i do have foam tape at the back of my Polaroid photo i'm going to stick it on top of a panel and the panel is slightly smaller than the standard card i went with pink for that it matches the colors of her flowers in the outfit and i also added a little pink heart for the tittle on the letter i and i completed the sentiment with it's your birthday i did stamp that with versamarking and white embossed it this also comes from the same stamp set with the sentiments as the word smile and finally to finish it off i'm going to stick it on top of my card base it's an A2 size card base and you can see a little border white border all around now just to finish it off and to add a touch of fun i'm going to use those wash tapes these are from the same mrs collection and i'm going to cut out a couple of pieces and stick them on top and at the bottom of the polaroid as if these are the ones that is holding the polaroid on top of my card and here are the two cards where you can see better the difference in sizes by using the stamps or the dies i absolutely love the variety and the options that it gives you so these were the cards for today as i was playing with the mrs collection by studio light they are super fun to play with and i highly recommend them you will find links to everything i used down below in the description area just like always don't forget to like this video and leave me a comment i hope that you had fun today that you got inspired and that you will all have a lovely day


Welcome to Nursing School Explained and this video on application of an ACE WRAP. ACE WRAPs are indicated in many musculoskeletal injuries and they can provide a nice support for the affected joint of the patient. So we'll take a look on how to apply it to different joints, specifically the ankle as well as the knee today in this video. Keep in mind that whenever we apply an ACE WRAP we always want to start from the most distal end and work our way up to the proximal part of the joint because we want to kind of promote the blood flow as we're applying the ACE WRAP. If we went the other direction it would be kind of, it would be in danger of kind of trapping the blood down there, especially if the joint is affected in such a way that it's swollen or there is some hematoma. So always from the distal to the proximal end and we'll take a look at it here in a practical application. So first we'll remove the patient's sock here and we'll support the affected joint as best as we can so that we're not causing any additional pain for the patient. And then once we make this loud popping noise, the ACE WRAP's most of them have a Velcro at the very beginning and then on the inside so at the very end. And it's nice because the Velcro will stick to the ACE WRAP itself right here and actually it's set up in such a way that the end will unroll exactly in such a way that you can then put the Velcro on the ACE WRAP and you won't need any additional adhesives or any tools that will help you keep it in place. So like I mentioned before we always want to work our way from the more distal to the proximal part of the patient. And for an ankle it's always beneficial if we wrap it in a what's called a figure eight form. So we're going to go around the foot then around the anterior foot here and then around the back of the foot here with the Achilles tendon and then come around in such a way that we're really supporting this joint right here. So I'm going to start by gently putting some or extending this elastic here on the wrap and putting it tight but not too tight and that's always a matter of practice in order for you to figure out what the right amount of tightness is. Of course we also can always ask our patient for feedback. In case this wrap didn't have the Velcro right here I could just tuck it underneath and then secure it twice around which will give me a nice base light here. So then from here I will wrap it could you bend your knee a little bit and just put the foot there you go. I will wrap it around the ankle and then I'll come back and I'll go around the front of the foot and I'll always gently apply pressure so the elastic will stretch so that it'll have a nice support for our patient here. Now once I notice that I'm coming to the end of the ace wrap here I will stop here at the top of the ankle which is more of the proximal part and here is that part of the Velcro that I was talking about earlier so we can gently undo it and then just apply it on itself which will make it work really well and then we'll gently support the patient's leg again and now we have the ace wrap applied the heel will look out but the ace wrap is nicely supporting the ankle right here. As always with any muscular skeletal injury we want to check the five piece after the application of any kind of supportive device whether that's an ace wrap a splint some sort of a knee brace for example and in this case we're going to check the five piece right now which are pain pallor paralysis pulse and peristhesia so in this case since I just applied the ace wrap and I know that there's not an open wound or any kind of injury right here I can actually gently lift up the ace wrap and slide my fingers underneath and feel for the patient's a pedal pulse to make sure that the wrap is not too tight and that's right here that's really nice in case that wasn't an option where I couldn't feel for the pedal pulse I can always check the patient's cab refill but I need to make sure that I check all five toes because the support here is around the ankle and so all five toes could be affected. So rather than pinching the toe nail I personally like to pinch the top of the toe which gives me a little bit of a better look right here plus if the patient had some nail polish for example or some fungus there it would be really hard to see it. Okay so that's our pulse our circulation I can see the patient's foot is maybe a little bit pale but it didn't change from pre-application of the ace wrap and in this case the color is normal for this particular patient and then in terms of paralysis so I'm going to ask him to move can you wiggle your toes please excellent so those are there and then in terms of peristhesia we'll need to ask for numbness and tingling do you feel any numbness or tingling in your foot? No. Excellent and now I'm going to touch you all five toes and let me know if you can feel that please can you feel me touch you here? Yes. And here? Yes. And here? Yeah. And here? Yes. And here? Yep. Okay great so I want to make sure that I touch all five toes again to make sure that I didn't pinch the nerve or cut off any circulation here and again all five toes it's important because the wrap affects the entire ankle here so we've checked for paralysis peristhesia we've checked the pulse we've checked the color and then the pain is this causing you any pain right now? No. Okay very good so here we are with our ace wrap on the ankle now let's look at how we apply it on the knee so now we're applying ace wrap to the knee in this case we just applied it to the ankle where we kind of went about it in this figure eight motion that's not really that much of an option on the knee and it's actually a little bit simpler on the knee so I'm going to just slide your shorts up here a little bit to expose the knee all the way and remember we want to support the joint here so I always want to go a little bit above and below the affected joint starting at the more distal end of the joint and then working my way up again this ace wrap here has the velcro so I'll make sure to start it out the right way can you please bend your leg a little bit and just set the heel on the table there we go thank you if this was like a severe injury with a patella fracture I would have a second person here supporting the leg while I apply the ace wrap to make sure that we're not hurting our patient so then again I'll apply it down here at the distal end first applying some gentle tension to that elastic securing it with the velcro here if I didn't have the velcro I'll just go a second round I kind of like to do that anyway because it just holds it in place a little bit better and then I'll work my way up here around the knee joint overlapping each elastic each ace wrap with the previous strip and as you can see it's about halfway so I'm starting with half the ace wrap and then overlapping the half of the one that I just previously placed and I'll continue working my way up here until again I'll find the velcro on the other end loosen that up and then secure it to the ace wrap itself now in this case if this was a significant knee injury I might want to double up and use a second ace wrap maybe start here and then work my way up also be careful if you apply the velcro that you're not applying it to the patient's hair because that might be very tender when it comes off it might just get tangled so now we're done with this you can straighten up out your leg and then we'll take care of our patient as always and it might have to be adjusted when the patient gets up because with gravity it might want to slide down or you might need another ace wrap to secure it it just really depends on the patient's activity level and how much pressure they're able to tolerate and then again just like we did in the ankle wrap we need to make sure we check the five p's again but I'm not going to demonstrate that because we already did that and it's the same exact thing because we have the same affected left extremity here for our patient so thank you for watching this video on nursing school explain and how to apply an ace wrap please also check out the other videos in the skills checklist and I'll see you soon right here on nursing school explain thanks for watching


Have you ever noticed that some people seem to have all the luck with women? It's more than just simple charisma. There are some scientific reasons why certain methods are effective during social interactions. We'll share some interesting psychological tips and tricks that work on women. Before we begin, make sure to click subscribe for more from Psych2Go, where you can find helpful tips on daily life for both men and women. This video was made in collaboration with our friends at The Taco. If you're interested in learning more about psychological tricks that work on men, be sure to check out their video. Mirroring They say opposites attract, but at the end of the day, we tend to like people who are similar to ourselves. You don't have to pretend to be a clone of the woman you're talking to, but by subtly mimicking her behavior, you can easily pique her interest. According to New York University researchers, this is known as the chameleon effect, and it happens when people unconsciously mimic one another. Try to consciously mirror someone's body language, gestures, and facial expressions and see what happens. Compliments Paying someone a sincere compliment does more than make them feel good. Studies find that if you offer someone a compliment, they actually tend to associate it with you, other than themselves. It's a phenomenon called spontaneous trait transference, and it's something you can use to your advantage. If you tell a woman she is trustworthy or a good listener, there's a solid chance she will feel the same way about you. On the flip side, you want to avoid talking negatively about other people because your audience will then associate the unpleasantness with you as well. What's the best compliment you've ever received? Floss When you are attracted to someone, naturally you want to put your best foot forward. But you should know that it's okay to demonstrate that you're not perfect. During an experiment at the University of Minnesota, participants listened to recordings of students taking quizzes. People who did well on the quiz but spilled a coffee at the end of the interview were rated the highest. It sounds strange, but your minor flaws can make you more relatable and likable. Has this ever happened to you? Eye Contact This is a psychological trick which is pretty easy to pull off. Eye contact is a big deal, and it can convey a lot to the person you're talking to. According to social psychologist Zik Rubin, people generally make eye contact about 30 to 60% of the time. But couples who are in love with one another make eye contact about 75% of the time. Does this sound familiar to you? You don't have to stare her down, but try upping the amount of time you spend looking into her eyes. This shows you're focused on what she's saying and you feel at ease around her. Touching Subtle body contact can be a great way to let someone know you're interested and enhance their attraction to you. Now obviously, you always want to make sure you're not making anyone uncomfortable. But try a brief touch on the arm when emphasizing a point the next time you're talking to a woman. One experiment conducted by the University of Mississippi in Rhodes College showed that wait staff who briefly touched their customers on the hands or shoulders earned much larger tips than those who didn't. Availability When you're interested in someone, it can be tempting to drop everything in order to hang out with them. But being too available makes it seem as if you don't have much of a life and that's the opposite of attractive. We aren't saying you should play hard to get, just that it's best not to let your life revolve around your romantic relationship. Being yourself scarce from time to time can make getting to spend time with you a much more appealing prospect. Benjamin Franklin Effect One of Benjamin Franklin's less well-known contributions to society is known as the Benjamin Franklin Effect. The psychological effect means that the more you ask someone to do things for you, the more they'll like you. It seems counterintuitive at first, but when we do something nice for someone, our brains tell us we must like them. If you can get a woman to do a favor every now and then, there's a good chance you'll like you more. Open Up Obviously, you don't want to tell her too much too soon, but moving past small talk is a great way to get close to someone. People tend to like others when they know more about them, so sharing a couple of secrets is a good way to establish intimacy. Since this is presumably someone you aren't close with yet, don't share anything which would devastate you if it got out. Simple things like how your relationship with your parents is, or something embarrassing that happened to you once can make someone feel closer to you. Keep in mind that getting people to like you is a skill like any other. It may take some practice, but these tips will make the process a lot easier. Share any tips you have in the comments section below. To learn more about psychological tricks that work on guys, make sure to visit the taco to watch their video. Thanks for watching, and we'll see you next time.


Welcome back to the program analysis course and to this second part of the lecture on dataflow analysis So in the very first video of dataflow analysis We've seen an example of a dataflow analysis namely the available expression analysis And what I want to do in this video is to explain the basic principles Underlying this whole idea of dataflow analysis and for which you've already seen an example in the first video So here's just briefly again an outline of this whole lecture We have now already done this first video and now we are here in the second video Why I'm going to talk about these basic ideas that are valid for every dataflow analysis Including the available expression analysis that you've seen earlier in order to define a dataflow analysis There are six important properties and in a sense You just have to remember these six properties because everything else is derived from these six properties So a dataflow analysis is defined at first by a domain So the domain is basically telling us what kind of information the analysis is reasoning about and what is the analysis state That the analysis tries to propagate through the program Then every dataflow analysis has a direction which basically tells us whether it's a forward or backward analysis So whether it reasons about the code in the order in which Statements are actually executed or by reasoning about the code backwards, which for some analysis problems makes more sense than a forward reasoning Next we also have to define a transfer function for every dataflow analysis, which you've already seen in the first video through an example Basically defines what happens if the analysis reaches a particular statement How does the analysis that change when the statement is considered by the analysis? Then we'll have to define a meet operator Which basically tells us what happens if the flow of control merges or if you're reasoning backward When there is a branch, so it tells us what happens if there are two incoming two or more incoming statements That need to be somehow combined by the analysis to propagate the information Then you always have to define the boundary condition, which is about what happens When you do not know anything else So for example, this could be to assume you have an empty set of whatever you're reasoning about or you have the maximal Possible set of whatever you're reasoning about would see what exactly this means in a few seconds And then you also have to define The initial values telling us for example, what happens in case you enter a piece of code So what is the set of information that the analysis starts with? Let's now look into these six properties and some more detail and let's get started with the domain So what the dataflow analysis does is to compute some kind of information at every point in your program Or more specifically at the entry and exit of every statement in your program When we say information what this basically means is that we want to compute a set of things at each program point and this All these sets that we will compute at each program point Some subset of a larger set and this larger set is called the domain of the analysis So the domain of the analysis is basically contains all the possible elements that a set at a particular program point may have For the example analysis that we've already seen so for the available expressions analysis This domain of the analysis is the set of all non-trivial expressions So all the non-trivial expressions that occurs somewhere in the program are in the possible set of available expressions that we may see at the different points in the program and What the analysis then does is to compute the right subset for every program point The second property of a data flow analysis is about the direction and as I've already briefly mentioned This is basically about whether the analysis propagates information Along the control flow graph following the direction of the edges as we normally see them in the control flow graph And in this case the analysis is called a forward analysis because it just propagates information forward Along the normal flow of control In contrast an analysis can also be a backwards analysis Which essentially means that you take the control flow graph and then invert all actions so you just turn them around and That means that the analysis is reasoning about Executions in reverse. So it's you can think of it It's starting at the end of the program and then going backwards in order to compute whatever the analysis wants to compute We'll see examples of backward analyses In a later video, but for the example that you have already seen the available expressions Analysis, this was actually a forward analysis because we started at the entry node of our control flow graph and then follow the control flow edges in the normal direction until We reached the end of the Code that was to be analyzed Property number three of a data flow analysis is the transfer function So what this transfer function is doing is to define how a statement affects the information that is propagated by the analysis And the way this is written down is by basically writing down an equation that tells us what the state of the analysis is at the exit Of a statement given what we know at the beginning of this statement and maybe some other information So in general for a particular or for yeah for any kind of data flow analysis So DF here means data flow analysis the Transfer function tells us about the state at the exit of a statement s by defining some function of The f entry of s so basically the state of the analysis at the entry of the statement s Now this is the most general way to to put this transfer function We have already seen The example of the available expression analysis where we had defined The transfer function as follows so in this case we say a e for available expression and we say that the exit of a statement s What we know is what we have known at the beginning of the statement So a entry of s and then we remove everything that is defined by this helper function called kill and then afterwards add new elements to our resulting set by adding everything that is in Gen of s where Gen of s is this other helper function that tells us what a statement s is generating in Principled you do not have to define the transfer function based on a kill set and a generate set But in practice for most data flow analysis This is the most natural way to define the transfer function. So you'll very often see this kind of Definition where it's whatever you have at the entry minus whatever the statement kills plus whatever is generated by the statement Property number four for data flow analysis is the so-called meet operator So what the meet operator does is to answer that question here, which is well What if you have two statements as one and as two that flow to a statement s? What kind of information should we propagate? That's the question that is really asked here and now depending on whether we are reasoning forward or backward This question may come up in different kinds of situation So if you have a forward analysis, then this question comes up whenever the execution Branches merge again. So for example, if you have an if somewhere and the execution is branching Then at some point the then branch and the else branch will merge again and will reach and this is where this question comes up So what what what kind of information do we take the information from the then branch or the information from the else branch? If we reason about the code in a backward analysis Then the same question comes up already at the branching point for example If you have an if and reason backwards then at the branching point The two branches come together and we need to say what information to propagate from the two branches as well from two statements That are incoming namely s1 and s2 Now the meet operator defines what to do in this case and there are two common answers to do this Which is set union and set intersection So in the union case, we are basically saying that whatever We have at the entry of Statement s is what we have at the exit of one of the incoming statements as one And then the union of this with whatever we have at the exit of the other incoming statement as two So we just take both these two sets and put them together as a union and Then the other option is to compute the intersection So this looks very similar in this case We say whatever we have at the entry of statement s is only what is in the intersection of what we have at the exit of statement s1 and at the exit of statement s2 So only elements that occur in both branches are considered in that case for the available expressions analysis We had taken the second option Intersections simply because we can only say that an expression is definitely available if it is available on both incoming statements Let's move on to property number five of a data flow analysis, which is about the so-called boundary condition So what the boundary condition defines is what kind of information to actually start with at the first note of the control program That we are considering So what this first note is depends on whether we are looking at the forward analysis or backward analysis in Case of a forward analysis The first note is the entry note of the control flow graph So the one that we have at the very beginning and in case of a backward analysis because we start at the end The first note is actually the exit note of the control flow graph So usually the point in the execution where the function has finished its execution Now in order to define what information to start with at this control for graph note You can in principle define any subset of the domain of the analysis But what typically happens is that you either define it as the empty set Which is what we did for the available expressions analysis, right? And all you can define it as the entire domain So the entire domain of the analysis where you say well We start with the full set and then sometimes we are removing things when we are visiting the individual statements And then finally property number six of a data flow analysis are the initial values which basically tell us What information to start with at the intermediate nodes? So when you start propagating the analysis state When you reach a note that you haven't seen before you need to start with some set as the current analysis state of this statement and again There are two typical choices either you take the empty set or you take the entire domain of the analysis And the empty set is what we had done for the available expressions analysis because before we have really thought about a statement We cannot really assume that any of the expressions is available. So we start with the empty set here So just to wrap this up here are the six properties again And here you can also see how we had to find them for the available expressions analysis So the domain is the set of all non-trivial expressions The direction is forward because the available expressions analysis reasons In the forward manner about the code the transfer function is defined as you see here So it takes whatever is the entry state of a statement removes everything that is killed and then adds everything that is Generated by the statement As to meet operator we had said union makes most sense because otherwise we cannot be sure that an expression is really available We start by saying that at the very beginning of the control flow graph the Set is empty because we do not know what Expressions are available in the same for initializing the sets of intermediate nodes All right, and that's already the end of video number two on data flow analysis So you have now seen the basic principles of data flow analysis namely these six properties that are defining a data flow analysis and What we'll do in the next video is to actually look at more examples and other kinds of data flow analysis That all are defined by defining these six properties and then look at different static analysis problems Then the example that you've seen so far. Thank you very much for listening and see you next time


Hi everyone, Joe for jasmiescasewrakes.com coming at you with the random number block for Flawless Collegiate Football, one box picker team too. Got that one box right there featuring a good group of teams. I think everyone understands as a random number block, the serial number thing. This group definitely does. Thank you. There are the numbers right there. Let's do it. Let's roll it. Let's randomize names and numbers one and the three, four times each. One, two, three, and four. Got Joe down to Dave and then one and a three, four times for the numbers one, two, three, and four. We got three down to eight. Now for the month of March, we're going a Sans Serif font. We're going to use an old favorite, Poppins. Pops nicely I think. Joe with three, Alan Matsui with nine, Kyle with six, Michael with seven, Matsui with five, Michael with one, David with two, LastBodMojo, Murdock with zero, Alan Matsui with four, two different Alan M's in this one and Dave Varros with eight. So it's sort by number and we'll print this out and we'll see you in the next video for the break itself.


In a world where workplace diversity sessions increasingly resemble Maoist struggle sessions, Chloe Valderie's Theory of Enchantment seminars seek to bring people together using popular culture to explore our common humanity and to generate empathy rather than division. The 28-year-old Valderie started a group to combat antisemitism as an undergrad at the University of New Orleans and after a fellowship at the Wall Street Journal's opinion page, she created Theory of Enchantment as an alternative to the anti-racist programs of people like Ibram X. Kendi and Robin D'Angelo. Valderie thinks that these programs often deepen the very resentments they seek to alleviate. Her program, on the other hand, employs materials as varied as Disney's Lion King, music by Kendrick Lamar, and writings from James Baldwin and Cheryl Strait. She spoke to reason about how her life experiences inform Theory of Enchantment, why the demand for her program is growing, and why she's optimistic about the future of race relations and individualism. Here is Chloe Valderie. Chloe Valderie, thanks for talking to Riza. Thank you for inviting me, Nick. I appreciate it. So, let's start with the Theory of Enchantment. Give me the capsule summary. What's the elevator pitch of a Theory of Enchantment? So, Theory of Enchantment is a startup. It's my company, and we teach anti-racism in the corporate boardroom and beyond, and we have a very specific approach to this particular practice that combines popular culture, the arts with a kind of mindfulness understanding of how to fight again in combat prejudice and bigotry. What's the landscape, say, in like corporations and offices?   Is it a muted smoldering? How bad is the problem that you're kind of talking about? Yeah, this is actually a challenging question for me because on one level, it's not as if companies are being bombarded with the spirit of Jim Crow. That's not what we're talking about here. And to that point, as I'm sure you know, there's been a giant proliferation of diversity and inclusion programs over the past year and a half due to some of the events of last year. So, you would think or one would assume that because of that proliferation, there's actually not much prejudice in the workplace. There's not much bias in the workplace. But the problem is that because a lot of the trainings that exist, because a lot of the trainings that are super popular today are in some ways creating results that end up promoting prejudice, you have this byproduct effect where people are actually being inundated with a kind of approach to anti-racism that creates the likelihood of more prejudice, not less. So that's like people like Ibram Kendi or Robin D'Angelo are probably the two best known kind of mascots for this approach, where everything, every situation is actually fraught with a massive amount of unacknowledged racism. And the job of the kind of facilitators to come in, you know, and Robin D'Angelo's new book, Nice Racism, it's like to come into, you know, like NPR headquarters.  But you're saying that's part of the problem that your program is trying to kind of work around or get passed. Yes, because it's based upon a couple of things that are problematic, a couple of ideas that are problematic. If you believe that anything and everything is white supremacy, for example, as it seems to me, especially individuals like Robin D'Angelo believe, then you are sort of ironically actually claiming that white supremacy is this all powerful, all pervasive thing, actually accepting a premise that white supremacists profess. And in doing so, you sort of perpetuate this belief or this stereotype that people of color are helpless victims and will always be helpless victims. And that creates a caricaturing of both black and white people, which actually just leads more prejudice in the workplace as opposed to getting rid of it. And then, you know, the second thing I'd say that that does is that that has a cultural effect in the long run, because people are essentially asking themselves or saying to themselves, I want to be a good person, I want to do the right thing. This is super in vogue. And this is what I'm being told makes me a good person. So it just metastasizes. And it has a more giant effect than it would otherwise, perhaps in a non-digital age. So let's say I run a corporation and I want to bring in you in order to kind of facilitate better relationships across my corporation or whatever. How do you proceed? What's the theory of enchantment look like? Yeah, so we have two offerings. So you could have us come in and do an actual day-long workshop with a cohort, just to pilot a program to see if you really, you know, sort of agree with or like our approach, or you could enroll in our self-paced program, which anyone can enroll in at any time. Those are sort of characterized differently or structured differently, but both of them are based upon the three foundational principles of the theory of enchantment, which are number one, treat people like human beings, not political abstractions, criticize to uplift and empower, never to tear down or destroy, and try to root everything you do in loving compassion. So the objective of both of those sort of approaches is to get the practitioner embodying those three practices. What are the exercises that lead to that? So in our workshop, for example, when we talk about treating people like human beings, not political abstractions, we then have to unpack what it actually means to be a human being, which is quite inexhaustible actually, and quite vast, and quite vast, which is part of the beauty and the wonder of what it needs to be human. And so people in the cohort go through different practices that have to deal with vulnerability, that have to do with exploring tools like stoicism, which helps us as the species deal with things like our need for control. And the reason for this is very simple. When we talk about the concept of supremacy, supremacy is not just a racial concept. If someone cuts me off in the street, and I began to see that person as less than me, as myself as greater than or better than that person, I have entered into a supremacist superiority complex, right? And when I'm doing that, I'm basically acting out of insecurity. I'm using supremacy as a defensive mechanism because I am operating out of a sense of lack. So all the exercises and the theory of enchantment help the practitioners develop tools to deal with their insecurities because all human beings have insecurities, unless you're like the Buddha or something. They even get me started on the Buddha. To deal with those insecurities, so you'll be less likely to overcompensate for them by being led to or being attracted to supremacist ways of thinking. And again, it's not strictly racial. It's a fundamentally base human instincts that we get looped in as a defensive mechanism. One of the things I find really interesting about the materials of yours that I've looked at is the use of literature and popular culture. You use music, books, movies to start exploring these themes. Can you talk about that? Because it just seems like a really good way both to break down abstractions. You're talking about a common text, but then it also seems like the minute you start talking about a particular song and you use some hip hop stuff or a particular writing, you use a lot of stuff from James Baldwin, then it seems like you're immediately going to start fighting with each other. What are some of the specific texts you use and how does that play out? Well, yes. I love the arts. I've always been drawn to the arts. I love literature. I love dance. I love music. And the reason why we use these as tools to sort of afford people or give people the sense of an affordance of the common humanity is because even though we're living in a time where it's politically invoked to caricature people and to reduce people, the task of the arts is to actually give expression to the full range of the human condition. This is something that one learns, for example, when going to acting school and being in theater. And so we use, as you said, sources from hip hop. We use Kendrick Lamar. In our full self-paced training, we use songs by Lil Wayne, but it's a full range. So we also, there's songs in there by John Mayer. There's literature in there by John Steinbeck. There's literature by Sheryl Strayed. There's snippets of Disney films that are used as prompts for exploration and identity. What's a snippet of a Disney film, since that's probably something that a lot of people listening or watching this would know? What's a Disney snippet? Yeah, so in our module on Stoicism and teaching individuals, for example, how to assume the posture of sympathia, which is a great term that means to look up. This corresponds with an idea in The Lion King, which is embedded in the song The Circle of Life. The Circle of Life is actually an incredibly, arguably stoic text, if you will, because Simba has to learn how to mature from a young cub to an actual king. And in doing so, he has to learn certain principles which are stoic in nature, like taking a view from above, understanding the interconnectedness of all things. So this is how we sort of play with ancient wisdom, you know, that's hundreds of thousands of years old, and have that be in conversation with contemporary art and contemporary stories. I guess I would be kicked out, right, if I put forth my thesis that Scar is the real hero of The Lion King. Yes, I don't know if you remember this, but I actually, you told me this before. And I will say to you what I said then, which is that you're taking the film to literally. Okay. That explains a lot where I've gotten wrong. And Doug, if we started on Toy Story, Sid is clearly the hero of that because he is a creator. Oh, I see. But he's also destroyer. But he does what the toys do. He uses them to satisfy the task in front of him or his urges. Maybe that'll be a second edition of the story. Yeah, that'll be after everybody gets along. Then you can do that to start people getting angry at one another. How do you know that you've succeeded? Let's say you come into a company and I'm assuming a lot of these companies they're not like, you know what, we've got, in the lunchroom, we've got Black Power people, Ku Klux Klaners, and a bunch of Zionists all on each other's throat. Nobody's sitting at each other's table. It's not like that. But how do you know that you've succeeded in your intervention? Yeah, that's a great question. So for our self-paced course, there's a lot of feedback that we get. There's a lot of testimonials that we've received. But there's also a lot of people who, in the self-paced course, make comments in the comment section. So you can see what people are actually experiencing as they go through each module, which is pretty cool to witness. And in terms of the full day workshop, we give surveys out after each training for feedback. And then we incorporate the feedback that we receive into future training to create that optimal development. It's a learning process. It never ends. But we do have those systems in place to get that feedback from our participants. I was an English major in college and beyond. I would love the idea of taking time off from work to talk about Kendrick Lamar or a Disney movie or an essay or a short story about somebody like James Baldwin or John Steinbeck. I could also see a lot of people being like, what the hell is this shit? Are people open to working through humanity and connecting with people through that? Well, the truth is that some people feel like at this point, there's no choice because we are so polarized as a community, as a nation, and we are so much at each other's throats, it seems, especially on social media. So this is actually meeting a demand and really servicing a pain point that people are having in different avenues. And so there has been to date, actually, this is an interesting fact. There's been no outbound sale strategy on the part of the company in terms of getting customers. Everything has been inbound. So I think that that's really a testament to the demand and to the pain points. So you mean people are finding, you're not beating the bushes for people. They're coming to you. Exactly, exactly. Do you, when you look at some of the reports about kind of insane corporate training sessions where people are either figuratively or literally asked to wear Chinese cultural revolution chalkboard saying I am a criminal or a dunce cap, things like that, and to admit and confess that they are racist, that they are sexist, that they are homophobic, that they're bad people, where do you think that's coming from? And why do people, I guess this is an easy question, why do people search at your program rather than something that emphasizes that kind of stuff? Well, yes, that last question is easier to answer in the sense that people are looking for alternatives to programs that make them feel worthless. And this is important to point out, because of the connection between insecurity and a supremacist superiority complex, it's actually a horrible idea. If you want to fight the impulse that we human beings have to feel better than others, it's a bad idea to make people feel insecure because that is a driver of the impulse or the need to feel better than others. So people are seeking out theory of enchantment because it's not just an alternative, it's also an incredibly rich humanistic experience. And the overall goal is to really get people to come away from that experience with a sort of renewed sense of joy and wonder that they sort of have in relationship to their lives and to the lives of others, and to see themselves and others with the fullness of the complexity that we all possess. And what that does is it means that you will not see the other as a threat, you will see the other as a source of curiosity and wonder. Now in terms of why this is happening, I don't have enough time to sort of go through my theories on why I think this is happening, but I do want to say that it is not simply, and we hear this in chatter on, especially on Twitter, it is not simply a neo-Marxist sort of iteration, it is actually a product in part of something that has been deeply embedded in Western civilization for a very long time, including iterations of Calvinism, includes iterations of Gnosticism going back all the way to the Neoplatonic era. So this comes out of something that is very deeply embedded in Western culture. The invidiousness of how we talk now or that move towards empathy through the arts. The invidiousness with which we speak now, and the way in which we sort of set up the world as, you know, we are good, you are evil, we are oppressed, you are the oppressor. That comes out of the Gnostic tradition, or that framing comes out of the Gnostic tradition. It's a very old- Yeah, because that means like the Gnostics, they have the real knowledge. They have the direct knowledge and you don't, so you're over there. And it's, you know, there are different iterations of Gnosticism that haven't always manifested in this way, right? It's not to say that Gnosticism is bad per se. It's to say that there's a light side and a dark side to it. And what we're seeing today is not merely as young as Marxism. It actually predates Marx. And Marxism itself has its roots in that tradition. And how do you, you know, it seems to me that when people talk about white supremacism in American history and in American culture and as something that still exists, you know, there's no denying that the country was founded, you know, upon, wasn't founded upon, but it was founded coincident with race-based slavery that made a couple of innovations to slavery. You know, the idea that if your mother was a slave, you will always be a slave, these types of things.  So it's not that, you know, America is, you know, is not perfect or anything close to that. But then, how do you account for it? Seems like at a moment when things generally are getting better, this comes up that it is, we are even worse now than we were, you know, 50 years ago or 100 years ago. Well, we are, we are sort of still going through a pandemic, right? And so, and the pandemic has unleashed, I think, not a meaning crisis, but another wave in what has been a meaning crisis that has been confronting us as a nation for a long time. And I think that when you are in a liminal space such as a pandemic where you don't have the same, you know, rituals that you may have, you may have had previously, you know, your workspace is the same as your home space. You're not having graduation ceremonies anymore. You're not connecting physically with people anymore. That's an incredible strain on your life as a human being. And that's an incredible strain on your ability to connect with people. And that breeds insecurity both in a material sense and in a sort of spiritual psychological sense. And whenever there's insecurity, there is this probability that we as a species will become more likely to get into these adversarial loads of being as a defensive mechanism to sort of grasp or hold on to something that makes us feel secure. So I think that what's happening is still the same sort of cold playing itself out within us. Yeah. And it reminds me of the way you talk about that. I mean, we have less interaction with the people we work with. So in a way, I mean, I think we probably all kind of dislike the people we work with a little bit more because you're never, you're never your best on Zoom or Slack. And then when you add in kind of racial ethnic and other kind of group identities, I'm reminded of the consistent finding that areas of the United States that have the fewest number of immigrants tend to be the most anti-immigrant.  This is how it works. This is helping. And it seems like something similar might be at play in the contemporary workplace, as well as agendas by people who really can make a living or make a splash by exacerbating division rather than unity. Well, I think that speaks to these, perhaps the secret sauce of the theory of enchantment, which is fundamentally a relational project. It's getting people to learn how to get to know both themselves and the other. And that is critical. I think if we want to be able to successfully, overcome some of the challenges that are, if they're not overcome, can really manifest in dangerous ways of being with each other. It seems a lot of the stuff that you talk about, I mean, I find it particularly interesting because you use the arts in order to kind of connect people, which is like a great idea that is kind of obvious, but nobody's doing it. And it's like, this is what art does. But then it kind of cuts or it goes at loggerheads with stuff like cultural appropriation, right? Where in the theory of enchantment, yeah, you can't really say like, well, look, this is an Irish thing. You wouldn't possibly understand. This is a black thing. This is a female thing. Have you faced pushback on the idea that some people don't want their experience to be kind of understood or agglomerated into another person's kind of sense of reality? Not in that iteration, I'd say. In part, it's sort of, we talk about, we introduced James Baldwin early on, probably I think in the second lesson in the theory of enchantment. And the piece that we introduced is an essay that he wrote in the 1940s called Everybody's Protest Novel, where he's actually criticizing the caricaturing and the stereotype of both black and white characters and literature. So we sort of prepare the practitioner and challenge the practitioner to not think in those ways. And we use someone with authority. So it's very difficult, I think psychologically, to make a move from that position to, oh, but no one can read James Baldwin if they're not black, right? James Baldwin himself would disavow that moral posture. And of course, everybody's protest novel is one of the great literary hatchet jobs Richard Wright, who is kind of the guy who authorized him in figurative ways and brought him to broader attention. So it's a really interesting performance in that sense. One of the guys who floats around and I see you quote him or nod to him on a regular basis is a writer named Albert Murray.  But who is Albert Murray and why is he important to you? Yeah, Albert Murray was a genius. He was a brilliant jazz musician and critic in the, I'll just say 20th century because my dates are off probably. But he wrote an incredible book. And it's actually on my shelf. It's called The Omni Americans or Alternatives to the Folklore of White Supremacy. And it's really brilliant. And I'm not going to really do it justice. But I will say everyone should read it because it's truly incredible in its old to the arts and it's old to the arts, not just as sort of a thing, a vacation from work, right? People tend to think of the arts as something that is separate from serious work. But rather he sees the arts as something like serious play. And he sees this idea of play as a virtue. You can think of play as synonymous with being in the flow state. So whether you can be in the flow state, you know, if you're playing jazz, you can be in the flow state if you're working on a project deeply and intensively. And he talked about how within African American culture, there is this vibrant sort of theme of what he calls impromptu heroism culture, which is the capacity to understand the negative potential that life contains, but to also play with its possibilities. And you can see that in the in the sort of dance, jazz, musical, generally musical orientation of African American culture, but that has sort of that has meta effects in many ways. And I really love that because it speaks to the central tenet or the central feature of the arts within theory of enchantment. And it also speaks to this goal that we're trying to achieve, which is this sort of relational attitude that human beings can have with themselves and with the other, which is a sense of wonder and a sense of joy and a sense of being for the sake of being. And that is the flow state. So there's a lot of sort of dialogue that that can happen between reading that text and inspiration that people can get from it. Can you talk a bit about how you got here?  And that kind of kickstarted this whole thing that became the theory of enchantment. Could you kind of unspool your, you know, I guess, what holding off field and catching the right calls all that David Copperfield crap? Yes. Well, well stated. I'll try to sum it up. So, yes, I was born in New Orleans. I was born into a religious family whose sort of religious expression contained the seeds of both dogmatism and rebellion, which is an interesting combination. So I grew up Christian, but I grew up observing mainstream Jewish festivals and holy days.  Is it a large scale? I mean, is it Jehovah's Witness or a seven day Adventist or but it's something like that? It's something like seven day Adventist. So similarly, seven day Adventist go to church on Saturday, not Sunday. That's how I grew up. Grew up in a very anti-Catholic church. Well, you know, New Orleans has a lot of Catholics. Yeah. New Orleans has a lot of Catholics. So they know what they're talking about. Yeah, it's your cultural domination. But, you know, that what that gave me was a sense of affinity for Jewish culture and therefore an allergy to anti semitism, which really culminated in 2012 when anti semitism was resurfacing in France. There are a few terror attacks against the Jewish community in France. And I thought to myself, well, this is how is this still a thing in the 21st century? So I got involved in the fight against anti semitism. I had a pro-Israel student club at the University of New Orleans. I hosted events with friends from Tulane University, where we would bring speakers and lecturers and things of that nature. But I shifted in my outlook when I stopped reading polemical books about, for example, the Israeli-Palestinian conflict and started reading literature and started reading Israeli literature, in particular, Amos Oz. And that really sort of changed my, I don't know, it changed my attitude. It changed my posture. It didn't change it overnight. It was the beginning of a change in which I was able to, the literary approach to humanity is very different from this sort of like political adversarial approach where the objective is to defeat your opponent. The literary approach is to be able to hold space for all the complexities and the nuances of the human condition. And I find it to be a much more sophisticated, more mature approach. And that orientation was deeply instrumental in the development of the theory of enchantment. So that was sort of happening near senior year in college, that shift. Also what happened, something pivotal that happened was I took a class called Anthropology of Magic, Religion and Witchcraft with this professor who I prejudged how I was prejudiced towards in my mind. I assumed because she was agnostic, and I was very dogmatic at the time, I assumed that because she was agnostic that she would know nothing and not only would know nothing about religion, but would condescend to the religious. And she had us watch a film, Jesus Camp, which portrays evangelicals who send their kids to camp, I think where they're taught to speak in tongues or what have you. It doesn't really favor the evangelical community in the positive light. The next day I go to school, there's a student, a classmate who's an atheist, and she starts railing against this community. And my agnostic professor who I have prejudged and who I've assumed will say one thing enough, one way, basically essentially starts to defend the community and is another example or models the sort of literary posturing, which is if you are not capable of wrestling with all the things that we as human beings gravitate towards, even mistakenly, even in an incorrect way, but if you're not able to grapple with the source of that, which is ultimately a need for meaning and belonging, then you really haven't you aren't you aren't really understanding the purpose of this course. And that she her saying that totally created a existential crisis in my life because I put her into this box and and the boxes were insufficient, which meant my entire sort of worldview was really crumbling and had begin to crumble at that point. So there are a lot of interesting, liminal psychologically liminal spaces that I was going through in in college, especially at the end of college. And then after that, after I graduated, I moved to New York and got a job at the Wall Street Journal, worked closely with Brett Stevens. And that is where I began to work on a thesis that was the sort of catalyst for theory of enchantment. That is where I came up with the idea of enchantment. And that is when I began to study pop culture in particular and the arts in particular as a means to sort of try to pull out this framework that would teach people how to be able to grasp their own complexity and the complexity of the other and a spirit of curiosity and wonder as opposed to that adversarial orientation. Can you explain how the Stoics or aspects of Stoicism intersect with this? Because I'm thinking of my knowledge of the Stoics and obviously the Stoics are having a moment, right? You know, thousands of years after they committed suicide. But it's that Stoics reserve that they don't show emotions, that they do their duty, they shoulder their responsibility. And somebody like Seneca talks a lot about that kind of stuff and then wrote these horrific plays that are just phenomenal, versions of Greek plays and whatnot. And then I think more to your point, there's the quote that's attributed to Marcus Aurelius, I'm not sure if he actually said it or not, but that nothing that is human is foreign to me. And that seems very much in the camp of what you're talking about. But how are you using the Stoics? How do they supplement a theory of enchantment? Yeah, we teach a few sort of Stoic principles to help people deal with, to help each other ourselves deal with our relationship with the need to be in control, right? So one of the, I think one of the Stoic, popular Stoic practices is just keep in mind what is in your control and what is not in your control, right? Because you could spend so much time, so much wasted time ruminating in your mind over things that you wish you could change or things that, you know, situations where you wish you had said something differently or done something differently or you were assuming that someone else was thinking a certain way. None of these things are in your control. And so it doesn't make sense to fixate on them. And so we use Stoicism to help people become more self-aware of when they're doing that, when they're falling into that spiral. We also, there's another principle that we teach of Stoicism, which is remember that everything is temporary, right? Everything changes, everything passes. And that's super important, especially when people are going through and experiencing a lot of hardship right now. And I think it helps to really ground people. And, you know, obviously Stoicism is not the only wisdom tradition that teaches this. This is also a teaching in the Book of Ecclesiastes and other wisdom traditions. But we find that it's very helpful because we pair them with practices where, you know, we say, name something that you had to let go of in the past year. Name something that you're still learning to let go of in the past year. So these are, again, things that give people a sense of awareness of when they're being too fixated on things that are outside of their control in the first place. Are you optimistic? Obviously, I mean, you wouldn't be doing what you're doing if you weren't optimistic about being able to change or have a positive influence on small groups of people.  All of those seem to be going in the wrong direction now. Are you optimistic that we can kind of work through whatever it is we're working through now and find a, you know, a better, more inclusive America where people not all, you know, both feel better about where they are, but also actually do better than where they are. Well, I think I'm optimistic because I have no other choice to be optimistic. I was just reading briefly about the collapse of the Bronze Age, which I don't know much about, but it was pretty terrible, pretty, pretty terrible. And there was a lot of meaning crises that, you know, entire cities were dealing with during that collapse, which sort of led to the collapse. And so I'm very, I'm very much challenged by what I think is possible if we don't find a way to get along with each other, to learn a way to get along with each other. But I do think it's possible, but we have to work towards that goal. We can't just, you know, hope for it in the passive sense. We have to actively work towards that goal. So I am optimistic, but I do know that there's no guarantee. One emerging fault line, which I'm reminded of every time I talk to my colleagues at reason, all of whom with one or two exceptions are younger than me, is a generational fault line.  Nobody, nobody cares about Gen X, poor little Gen X. They're like Kurt Von Trapp in the center of music. Now, but it gets like two lines in a three hour movie. What? He doesn't get a lot more than that. But, you know, but, you know, is there a generational dimension to what's going on here? And if so, does that follow the same kind of things of, okay, let's, you know, let's use the arts to kind of, you know, understand each other better. It's, you know, it's ironic.   But, you know, does this, you know, does a theory of enchantment, what might that help to pour oil on the roiled waters of generational conflict? Well, first of all, I love these metaphors. Yeah, I mean, I think so. Part of the reason why we want to, part of the reason why we include, you know, Stoicism with the Lion King is to have that intergenerational dialogue and to give us, give people a sense of the timelessness of wisdom. And if you believe that that wisdom is timeless, then you should expect to see it across generations, to see it represented in different cultural sources across generations. And we hope that this is a way in which, you know, a person who is of the baby boomer generation, right, can understand someone who loves Kendrick Lamar and, you know, someone who loves Kendrick Lamar can understand someone who loves him. Do you love Kendrick Lamar? Is that where this is headed? Did you get that plug? Was it properly there? Yeah. What is the, you know, the next big step for you in terms of a theory of enchantment? What do you hope happens with your program and your practice? This is a great question. So one of the things that we would like to do is basically have this result in much greater distribution using the technologies that we have at our disposal. Long story short, that means that my, one of my dreams is really to be able to create an app that can successfully give people or facilitate for people the kind of experience we're wanting them to be able to experience, but like, you know, have it be in, you know, carried in their own pockets. I think that's the next frontier for us. Even as we continue to learn and gather feedback from our existing models, the ultimate goal is to be able to, it's not the ultimate goal, but one of our goals is to be able to, you know, encapsulate that in an app. And not in like, you know, an app that's adversarial, which I think for all of my love of Twitter, Twitter ends up sort of becoming that in certain ways, but a kind of app that affords a sense of, again, joy and love and wonder and relational curiosity. Hmm.  Can you talk a little bit about that and, you know, what you hope people get out of that? Sure. So I have a podcast that hasn't come out yet, but hopefully it will be out soon. It's going to be called The Heart Speaks. I'm going to be speaking with different academics, philosophers, artists, getting away from the sort of, although, you know, it's a mode I love, but getting away from the sort of cerebral-minded approach and more into the, again, literary sort of heart-centered approach when discussing challenges to, you know, our nation is what we hope to do and we hope that people will come away also with a little bit of more optimism and a little bit of enchantment. Do you have a favorite author? I don't have a favorite author. I do have a favorite book. So the reason I... Yeah, I think, by the way, I think that's a great answer because authors, you know, kind of, the best authors rewrite the same thing. So you might as well take the best of the best, right? Yeah, yeah. I do love East of Eden, actually. Really? The John Steinbeck novel that is probably now best remembered as one of three James Dean movies. Yeah, no one should watch the movie, actually. It's not a good movie. There was also a TV series with Jane Seymour of all people, Dr. Quinn Medicine Woman. Was that good? No, not really, but I'm not a fan of East of Eden. So please tell me, not particularly, you know. So what do you like about East of Eden? I mean, it's incredible. It's really the sort of... It's three generations of men learning wisdom and sort of fumbling their way into a wise way of being, which doesn't happen until like the grandson. And also like the weaving in, you know, biblical metaphors of Tim Sholl and this idea of human choice. And again, actually, I think this concept within East of Eden in particular sort of rhymes with that sense of impromptu heroism culture that Albert Murray talks about, the importance of approaching life in a way where you can be in a state of infinite play, as opposed to all of these insecurities that often hamstring us. And of course, in East of Eden, it has a lot to do with parental baggage and sort of the weight that's passed down from father to son and how to unburden yourself. Yeah. No, I was going to say, you know, the one thing that's really good about the movie, the James Dean movie is I think it's Raymond Massey plays the father and he's so brittle and like controlling and, you know, he can't move an inch because everything might shatter. And yeah, that really comes across there. And I think that's a metaphor, you know, that's a real metaphor.  Yeah. And they're paralyzed by the prospect or the threat as they see it of change because, you know, again, liminality is like, you don't know what's going to happen next, right? It's very, very ambiguous. So maybe revisit, revisit it. You know, you're selling me on it and I know it's a John Steinbeck book, so it's not going to be, you know, it won't be too long to read or anything. I don't mean, I don't mean that as a bad thing. I'm just saying he's like, you know, a very easy read. I read it in like 10 days. It was, it was, it was a real page turner. Yeah. That's cool. All right. Well, I think we're going to leave it there. Chloe Valdery, a proprietress of a theory of enchantment, a really interesting and novel way of kind of talking about anti-racism, but also just kind of inclusion and diversity in the workplace or, you know, in any kind of organizational space. Thanks for talking to Riza. Thank you, Nick.