Item number SCP-2353 Object Class Euclid Special Containment Procedures SCP-2353 has been contained in a standard humanoid containment chamber and does not require any nutrition plan. All personnel in SCP-2353's presence are forbidden from wearing inappropriate garments, footwear, and accessories. The list of inappropriate clothing is fully detailed in Document 2353, but includes the following. Foam clogs, commonly known as crocs. White clothing, including laboratory coats, between the first Monday of September and the first day of spring. Any kind of flip-flopper sandals when worn with socks. Denim shorts, commonly known as jorts. Additionally, SCP-2353 is allowed access to a sewing machine and a rolling allowance of $35 USD a month to purchase magazines, fabric, and other equipment. Access to the sewing machine and allowance may be revoked as a disciplinary measure. Description SCP-2353 is a sapient, animate mannequin of 1.6 m in height and 2 kg in weight. It is composed of fiberglass with blue eyes, red lips, and light flesh tone painted on. It is capable of communicating in English, Spanish, Mandarin, Arabic, French, and Russian in a woman's voice. As SCP-2353 is completely hollow, it is unknown how it is able to speak. SCP-2353 reacts in a hostile and uncooperative manner when presented with humans wearing inappropriate clothing detailed in Document 2353. When presented with such clothing or accessories, SCP-2353 will often turn its back to the human and request for phone privileges in order to contact the United Nations. SCP-2353 was found in a chain-clothing department store attached to a mall. Video recordings of SCP-2353 contain evidence of SCP-2353 talking to itself while attempted to conceal or destroy articles of clothing it just approved of. The Foundation was alerted on October 10, 2015, when SCP-2353 stepped out of its display window and ran into the mall. The following is a video transcript of the event and an initial interview at its successful containment. Transcript 2353-01 Begin Log 1023 SCP-2353 is seen in a display window through a surveillance camera. Its head moves to the right without visible manipulation. 1024 SCP-2353 can be heard speaking. An unknown male entity can be heard talking to it, possibly one of the other mannequins. She gages on going. Oh no. This is the last straw.  Damn it Stacey, calm down. They just gotta learn on their own. How many times have I gotta tell you? It ain't worth their jobs. Stacey.  I am not tolerating this anymore. The guy is wearing at least two sizes, too small. That muffin top is more like a mushroom cloud. SCP-2353 steps out of the display case and begins running towards a woman, accompanied by a man carrying bags of clothing. 10.25 SCP-2353 tackles the man and begins to try and remove his pants. With all due respect, what is wrong with you? Where are some proper sizes?  Man begins to struggle with SCP-2353. 10.26 SCP-2353 successfully removes the man's pants.  There's a perfectly good gene sale going on at the Levi's, like three stars down to your right.    I didn't consent to any of this. The woman physically assaults SCP-2353 with her purse. 10.30 SCP-2353 picks up one of the bags of clothing and physically assaults the woman with it.  I saw you in the crock stores last week. There wasn't even a sale going on. You have, like, no excuses. Even that kind, poor fellow cash-sharing the down place was giving you the side-eye. 10.35 SCP-2353 and the woman continue to argue. Plain-clothed guards arrive to separate the two. The Foundation is alerted. 10.36 A guard has difficulty handcuffing SCP-2353 due to his lack of adequate range of arm movement. 10.40 SCP-2353 successfully escapes the grasp of the guard and flees downstairs. The guards pursue. 10.45 SCP-2353 stops to assault the woman's feet. Eh, are you blind? But the hell kind of frumpy sandals are these. Zebra print? There's a shoe store literally behind you. 10.46 SCP-2353 actually, I am legally- Oh, my God. I am so sorry. Miss, I've got an employee card and plenty of money I've never used. Come on, let's get one of our shoppings free during the one-day sale. Just because you can't see doesn't mean you can't look fit! 10.47 A plain-clothed guard forcefully maneuvers SCP-2353 to the floor. SCP-2353 is taken to a Holden cell for further containment by the Foundation. End Log Interview Log 2353-01 Date? October 10th, 2015 Interview E, SCP-2353 Interviewer, Dr. Kumalo Notes, this interview was conducted two hours under the Foundation's acquisition of SCP-2353. Begin Log Hello, SCP-2353. I'd like to ask you a few questions if you don't mind. Oh, my God. Ew, ew! SCP-2353 turns away from Dr. Kumalo. I'm sorry, is something the matter? Can I do something for you? Yeah, sure. I need to call the UN to report evaluation of the Geneva Conventions. What? After Labor Day? My God, not even secret organizations are safe. SCP-2353 refuses to communicate for the remainder of the interview. End Log


Another school year is right around the corner, but when it comes to school lunch there's still debt left unpaid for the last school year. At the end of the academic year for Bemidji, there was a debt of about $15,000 for school lunches that remained unpaid. Bemidji Area Schools has set up an angel fund to help those families out who do not qualify for free or reduced meals. The angel fund is set up so that families with students or anyone in the general public can contribute. The need is great in this area. If we don't get folks qualified through the education application for a reduced or free meal, then it can be cumbersome hindrance for families to meet the need to feed their students through our school food service. If you'd like to contribute to the angel fund, Bemidji Area Schools has set up a website to donate at Bemidji.rev-track.net. Now donations, you see it right there. Donations can be made online or at the Bemidji School District Office. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


Hello there, welcome back. And I hope you have a very good coffee break. And so what do you do during coffee break?  Or do you just chat with people in the chat? So yeah, like now, I guess we're back. And then we are very great to have our next speaker, Rush joining us. Did I pronounce your name correctly? Hello. Hello. Hello. Yeah, so where are you calling in? I'm calling in from France, the Southern Elbs in France. Yeah, yeah, so it's great. I hope the weather in France is great because it's very crowded here in London. So I don't know, across the channel, maybe the weather is a little bit better. Here's really super. It's summertime here. We live here in a place where it's 300 days a year with sunshine. So no complaints at all. Yeah, amazing. So you are going to tell us about debugging, right? Yeah, yeah, that's correct. Yeah, so when your slides is ready, then maybe you can tell us all about debugging. OK, I'm ready. Yeah. Yeah. So is the screen on? Yeah. OK, I would like to talk about a package I developed over the last month, a package called Ice Cream. It's meant to make debugging and benchmarking sweeter. First of all, let me shortly introduce myself. I'm a consultant in the field of logistics simulations, particularly in port automation. Besides that, I'm also an active open source pricing developer, particularly with a my main package is called Salibim, which is a package to do discrete defense simulation for fields like port automation, robotics, materials handling, hospital logistics, warehousing, et cetera. Here you see a small demo of a container port automation done completely in this Salibim package. And I'm also a developer of a package called Ice Cream. That's the one I want to talk about you today. I want to talk a little bit about the inspiration, then about how it can help debugging, how it can help benchmarking, highlight some of the advanced features, how you can customize it, compare it with the package from which I got the inspiration, and then come with some conclusions. The inspiration actually came from a package I found, I think, the beginning of the year. Package from Ice Cream, which is built in the correct way. It's a package by Ansgar Grandzait. It's a nice package, but I had some complaints about it. It doesn't have a pythonic interface, which is quite a nuisance. It also had quite a lot of requirements in the way of modules you had to install. And I found that there were several parts missing, particularly in the field of benchmarking and easy customization. And then it was actually too much to propose as a push request. So then I decided to create my own package, and I called it Ice Cream. It's the same spelling, but now it just was a lie. When you see it was a lie, that's my package. As I said, it's debugging and benchmarking. And debugging is the most important part of it. So debugging, what do people usually do for debugging? Well, they have built-up debugging tools, like we integrated debuckers in IDEs, like VS Code or PyCharm. But they're not always useful. So often we also just have a couple of print calls, like print, A, C, or B. But if you have many of those, you don't know actually what it is, and then you have to add something else. You have to add, OK, this is A, and this is B, et cetera. And from Python 3.8 on, it's possible to use an F string, which is quite useful, but it's not ideal. There's still a lot of typing for debugging, and you will also miss about some functionality. So what about just saying, why A comma B? That's actually what ice cream does. And I just wanted to show you that by looking at a small program, a small program that's supposed to remove all the elements that are less than or equal to one of a given list. So this is the list, and we have this little program for EL in L. If it's, then we remove the package, and then we print the list. So if we run this, and let me just do it in real time, but the output is wrong. You see several items are still not left out correctly. So now I just wanted to show you that in reality. So if we just run this program, you will see the wrong output. Well, what most people do then in those cases, for instance, they just put a breakpoint here, and then they run the debugger. It's slow, I think, because of the connection.  It doesn't really work at the moment, but you are familiar with that, I suppose. The disadvantage of that is that you can't really see the context. So you could just see a number of variables, but not in time. So what a lot of people then do, they just say, OK, I just print EL here, and let's at least check that we only have values that are indeed less than or equal to 1, because that might be also a really problem. If we just run this, I hope that will work now. So we see here the elements. And now it's already difficult, because we don't know actually which print statement is what, which is which. So we have possibly just add here line three. And we add here line number five. And then we can at least see already a little bit more of where the problem is. And we'll see that in a minute. Let me mistake this one here. Sorry about that. It's very sorry about that. We're in a very remote place here where the internet is not that stable. OK, now we can see at least the line number. And we could see that the elements are indeed correct. I'm not going into all the details. But now I just wanted to show you what you can do with the line screen. You can just add here the line from ice cream input Y. And then we see here Y element, YEL. Let's say we also want to add the list itself. And here we say also element and list. And now you will see an output, which is a bit similar to this one. But you will also see already that the elements are mentioned. So it's the element and the EL and L is in the output. So you'll see EL is and L is. And now we would like to see the line number. And then all we have to do is add dot show line number. And then you will see immediately on top of this output, you will see the line number, which can be very useful information. You'll see the line number. And if we put this into a function, for instance, you will also see the function name. If it's even in another file, you will also see the file. So let's go back to the presentation. Well, ice cream also formats the output nicely. So here, for instance, depending on the line length, if I have the squares here, the normal is it. When I have a short, very short line length, it will just format correctly. Which is done via the pprint package. What else can we do? We can also just say, OK, we have a function. And I want to trace actually what the bot goes into the function with got out of the function. And what we just then do, we just add the decorator Y. Then we say, OK, we just call this function. And then we can just print the output. So here, you see actually the effect of this is actually that the output just says, OK, this is called with the parameter 2, this one. And it returns 4. And you can also see some different information. If you go to benchmarking, benchmarking is quite often done with specialized tools like time it. And there are many others. But if you just want to do something simple, you want to have also the deputy functionality. Ice cream could maybe help with that. And you could do that with decorator. Let me just show you that in a real example. Let's say we have this function. It's a function that sorts 10 to the power of i numbers. That's not really very important. So we just add the form ice cream in point Y. And then we make a short test run for i in range 7 to do sort i. That's all. Then we add the decorator to give the debuting information. So here we see actually now an overview of the timings. So with 10 to the power of 7, we see it will take 0.6 in a minute. What we can now do, we can say, OK, we don't want to have all this information. That information that shows the enter is not very important. So we just show enter, also demonstration how to set attributes. So enter is false. And then we just run it again. And then you'll see a very nice overview of the timing of this function. You can see it's an exponential square, an exponential equation. What we can also do is, as a contact manager, and in that case, I just do this. I have another example here. Just built up a list of 10 to the power of 8, I think, elements. Add to the i-spin again. And now all I have to do it with with y. And then I can run it. And then you'll see it enters here the function. It will take a while, and then you'll see in four seconds it's ready. And then you can just use that, of course, and print it and all that. There's even another possibility. You can also do this. The second counter is also part of, instead of part of, I just don't do this. But I do this. I say i dot delta is 0 as a kind of timer. And I must just say print i delta. And the nice thing of this is then delta is just an ordinary variable. You can put it into an array, for instance, or do whatever, and then make a nice graph with it. That's easy to handle. So here you see the time now. For benchmarking, you can just only at the time. That can be useful information, particularly when it's very long. It takes minutes, for instance, with a response from a website or something like that. So you just say, OK, show time is true. And then you say, hello, and you get the output. You can also do relative times. You can add the relative time. So here you can see I do show time and show delta. And the delta is that counter. And then you can see it relative to either the start of the program or relative to the timer set here. I wanted to show you a couple of things to change attributes and all that. Let me just go back to this example. You see already that we've added a line number. Let's just say we don't want to have that same prefix. It was always a prefix is some examples. And then for standard, normally the output goes to standard error. But they can also standard out. But you can't really see when you run it on their VS code what I'm doing. But you can send it to a file. You can also send it to a logger, which can be very useful. So now you see here, indeed, that the prefix has changed. And we have sent it to an output. Let's suppose we have done this. And now we have debugged it. And we know how to handle it. Oh, I didn't tell the trick to correct this. The trick is actually to make a copy here of L. And then it's OK. So then it will work. But if we just say, OK, we have done. And we don't need to see the debugging information anymore. We can just say enabled. Enabled is false. And if you run it now, you will see there will be absolutely no new output. Then you can just only just print the information. So not anymore the output information. I just want to do something else. This is a small program to show you some sort of the output specification. So if we run this one, I've set here a line length of 160. So that means that this will all fit. If I just say, OK, I have some more squares to print like this, then you will see the output will change. Because this doesn't fit anymore on one line. And then you will see we put two lines. If we don't have even more, let's say we have 70 of those squares to print. Then you will see that it's more lines. And then actually it spreads up squares into various lines. And that can be extremely powerful. You can also show tracebacks. So then if you just call it from a certain point, you can see actually from where it's called. That can be useful to track calls from. And you don't know exactly what came from. There are a lot of advanced features. There's a whole list of them. And you can also use for each one, you have a shortcut. So instead of line length, for instance, you could say LL or things that are prefitted against P. And these things are you can just add them to your GND debugger. Nice thing of ice cream is that you can customize it with a JSON file. You just put the JSON file in the current directory or in the side package folder where the program is installed. And then you could just say, for instance, this is my setting. And you set the line length to 160. And compact has to be true. And then this becomes part of the package. So it looks like this is actually a part of the settings of the program itself. And you could do that, of course, then on the project base by putting it into proper current directory. Installation is very simple. Just respect and store or get it from GitHub. And one of the nice things is ice cream. The ice cream is just one file on the file ice cream.py. And if you put it in your current directory, it just works. There are absolutely no requirements. And no other files required, which makes installation extremely, extremely easy, of course. Little bit about the technical information. Ice cream is, in contrast to most packages that you see in Python, is one big source file in order to avoid dependencies. It includes actually the complete source of the ASD tokens module, the executing module, and the preprint model, 3.8. That's for shorting of dictionaries. And I've made some special code to make it random number 2.7 and 3.6 and higher up. And to give you an impression, the package itself is actually something around 800 lines of code. And the rest is actually the whole package is 3,000 lines of code. So these modified sources are actually about 2,200 lines of code. And just a short word of comparison with my inspiration package, ice cream with an eye. What ice cream does, ice cream does the color, the output. So in ice cream, you will see, in this case, you will see the strings in color, in blue, usually. I don't do that. That's particularly because the inclusion of that package would make it big. And I personally don't like all those colors that much as a personal preference. Ice cream with an eye doesn't have any benchmarking facility. My package has a very Pythonic interface, as you also just saw in my examples. My package is highly customizable. You can even make new, let's say, wise with those deep-diving states by forging and cloning. It's really very sophisticated. I don't know whether I'm on the feed or not used. But if you need it, it's very, very useful. You can use my package as decorator and context manager. What you can't do with ice cream with an eye is control the deep-diving parameters, which you can use my package for sure. And I have some more extensive tests. And I use another package. I use Pyth test and Ice Cream with an eye uses unit test. So to conclude, I would say ice cream might make deep-diving and benchmarking a bit sweeter. So if you want to use it, just go to my GitHub address. And then I just want to say thank you. And you can always contact me at this email address. Thank you. Bye-bye. That's good. That's really good to see how this is done. And very impressive live coding as well. I think it's very brave. I'm so scared to do live coding. I think this is a really, really cool demonstration. So actually, people have a question to ask. OK, super. Yeah, so what about a very long list? So this question come up when you was showing something. I think I forgot which part, but it was something that you were demonstrating. And then so are there kind of structures? So how do they display? I think it's really related to if you're using pandas, what should you do? Yeah. Well, actually, that's all done by the P-Print module. And P-Print can do all those things. So very long lists are indeed split up in the number of lines. As you saw already with that one example, I showed you where I put 70 squares instead of 10. Data frames in pandas are also handled by P-Print. So they will be quite nicely formatted the way P-Print actually works. So which is very popular package, as you might know. Yeah, I use P-Print all the time because in my work, I do it with a lot of dictionary that is very nested. So that's really good. Yeah, yeah. And one of the weird things with P-Print is by default, P-Print sort of direct the dictionaries. I don't know if I've ever noticed that. But from Python 3.6 on, dictionaries are sorted by themselves. So therefore, I, in ice cream, disable by default this sorted, which can be very useful actually. Yeah, so there's another question. So usually, execution is slower in debug mode. So what about ice cream? Oh, I think it means, yeah. So does it slow down the code as much? Yeah, that's for sure. But of course, you also have to look at some output but it's more or less the same as the P-Print statement. The only thing I can add to that, which is it might be important if you have disabled ice cream and you still have the statements, then it slows it down as well. But I've made some special provisions. So then the effect of that is actually not very big. So yes, it will slow it down. But you also have to look at it. So I don't see that as really a major problem. Yeah, absolutely. Absolutely. So thank you so much for that. This was a pleasure. Thank you. Yeah, so yeah, sure. And then if people have more questions, they can, of course, find Joe in the chat, I guess, in Matrix. See ya. Bye-bye. Bye-bye.


very much for the introduction and thanks everyone for joining us. So the default that I'm pursuing is much of a much larger wider piece of work that I thought I'd mentioned given that's a key theme of this whole webinar series about how we we fit into the bigger scheme of things. It's called Fakes Fabrications and Falseds in Global Health. It's a investigator award from the Wellcome Trust that's run by Professor Patricia Kingory as part of the Ethoc Centre and we are a cross-disciplinary team that's looking at the concept of pseudo and global health, fakery, how it manifests in all of its different forms and the ethical implications of that. And my interest, if I can get my slide to progress. There you are. It's in medical products as you won't be surprised to hear as a pharmacist. What I'm going to be talking to you about today isn't the results of the study given that I'm at the design phase. I do discuss these ideas in greater depth in the paper that's shown there on the left, if you're interested in it, which is based on literature and my experience is as the head of pharmacy at various different international and governmental organisations. In terms of design, I am using qualitative research methods because what I'm really interested in is, like Yol mentioned, is understanding the real world implications of what's going on in the world that people inhabit when they're faced with uncertain circumstances in terms of perhaps not being able to trust the quality of medical products that they're using. So I think in circumstances like this it can be easy to forget that while we're talking about big, grand global problems, life is still going on for the individuals who are working in healthcare. They still need to make decisions about how to deliver health, how to provide patient care, despite the fact that they might not be able to rely on the result of rapid diagnostic tests that they've just used, or they might not be sure of the efficacy of their treatment that they're about to provide their patient. And so that can throw out ethical dilemmas for them in terms of, well, what do I do? And I thought I'd describe that a little bit more through means of a scenario and this question of, well, what do I do?  It's one that I received when I was head of pharmacy at a large international and governmental organisation from one of my colleagues in Afghanistan. And it shows the burnt out shell of our regional warehouse in Cunda's province that stored all of the medical supplies for the health programmes at. And the health programme was enormous. It was outsourced from the government for providing all secondary primary healthcare for the entire region. So that's for a population of about one million people. And the question that I asked myself was, what do I do? What do we do? As head of pharmacy, obviously, medicine quality is at the forefront of my mind. And the supplies that were in this warehouse were received from a quality assured source from a Netherlands supplier. And all of our health centres had stock, but as soon as they needed replenishment in a couple of weeks time, there wouldn't be anything to give them. And the stock from another supplier was going to take probably six, nine, perhaps 12 months to get into country because we're facing enormous importation challenges. Lots of bureaucracy and constantly changing requirements. But what I knew is that I did not have the faith of procuring good quality medicines on the national market because of problems of weak regulation, corruption, a rife black market. And so the challenge there is thinking about, well, you know, do I buy or not buy? If we don't buy from the national market, then our patients won't have any medicines to receive that if we do, then potentially we'll be buying medicines of poor quality that could have a substantial public health implications for them and the whole community. And so a really sticky situation. But now I'd like you to think that rather than being the head of pharmacy in that situation, perhaps you're the security officer in Afghanistan, and you'll have a slightly different lens to look at this problem through, that you're responsible for the safety of all staff in Kandah's province. And what you're aware of is that staff have been reporting that they've been receiving threats of assassination from the Taliban who are unhappy with the supply chain problems and the importation issues that I've referred to. And that if there's no medicines in the facility and they can't be treated and their families can't be treated, well, that's really unacceptable. And these threats are very real. So as a security officer, how do you balance up these two problems? The risk of procuring poor quality medicines on the national market and potentially affecting the lives of patients and individuals in the communities that you're serving, how do you balance that against the lives of the staff that you need to protect and the very visible issue of stock outs compared to the relatively invisible problem of substandard or falsified medicines? And let's take another view again. Let's pretend that we're the head of the organization with a CEO. And we hear about this problem, obviously, and we're concerned about being unable to meet our commitments to the Ministry of Health and deliver health care if we don't have any medical products. But on the other hand, we're also very concerned about the fact that we might procure poor quality medical products and distribute them to beneficiaries and the negative reputational impact that might have. And for a charity, really reputation is everything. Reputation dictates the funding that you receive and actually, if there's a large reputational fallout from this, well, perhaps then that might affect funding streams for all of our other programs where we're delivering really essential health care to vulnerable communities. How do we weigh up the lives of those two different populations? And last, and then I'll move on. I think you're getting the point. But let's think of someone outside of the organizational together, perhaps we're a donor, perhaps we're with, say, USAID, the US government aid program. And we're responsible for the responsible distribution of funds to various different programs around the world. And in order to be fiscally responsible and spend public money responsibly, we need to account for where every single dollar goes. We need to do due diligence with various different suppliers. And although we're keen to ensure that aid programs continue, we also can't necessarily risk the problem of giving millions of dollars worth of replacing these medicines into a national market where we're unsure of the suppliers and perhaps what links they have for their standards. And I think so hopefully that shows that we talk about substandard and falsehood medicines perhaps in a slightly binary way, but in the real world that it can have a very complex and nuanced problem that can be seen through a number of different lens, through a number of different responsibilities. And what this question is really pointing to is what do I do? Is that actually who does have the moral authority to decide the answer to that question? Who should determine the quality of medical products that are received from the beneficiary? Clicking up in the front of you on the slides here is an example of a few of the different actors that may have been involved in the delivery of this health program in Afghanistan from policymakers, donors, individuals that design the program, people that audit the the manufacturers and suppliers to ensure that the quality is showed, those that procure the medicines, those that deliver them, regulators to ensure that the medicines that come into the country or are produced in the country of sound quality, the healthcare system who's recruited and and finally the prescribers. And each one of these could feasibly be have some responsibility for quality at their feet, but also I think that the decisions that they make can have an influence on the medical quality that is finally received by the patient, whether or not they necessarily realize it. And ethical challenges and ethical dilemmas can arise at any single point in this very long chain of, I've said this isn't comprehensive, but this long chain of actors who have sort of an accumulative potential effect on the quality that's received by the end user. So for example, it went into the chain of policymakers. And perhaps you're a policymaker with a real agenda for universal health coverage and the challenges for access to medicines across the globe, which is a real problem, obviously. But if you champion a program of universal health coverage without necessarily attending to the importance of quality, if you ask people to do more with the same resources, then something has to give. And an unintended consequence of pushing for greater availability could be the reduction of quality. At the other end of this chain, we've got prescribers. So say you're a prescriber in Kinder's province at that time, and you have a concern about one of the quality of some of the medicines that you're administering to patients. How much should you tell them? It's something that's come up already, that Kellyn mentioned in terms of the risks of vaccine hesitancy in terms of talking about quality issues. Well, how much should you inform your patient in terms of the quality issues? You might scare them, you might reduce their acceptance, but surely you need to inform them of any considered risks due to their autonomy and ensuring an informed consent. The area that I'm interested in with this project, for this piece of research, is procurement right in the middle. I think it's a really interesting decision point where upstream of that, we're thinking of a conceptual project, the product, like we need paracetamol. But at the point of procurement, that product becomes real, it becomes actual.  I think the decisions that go around moving from the conceptual to the actual is a very interesting space. For this project, this is what I'm looking at. I find it very interesting in understanding how different actors could consider the various different dimensions of priorities and bring them to bear in making a procurement decision. If you think back to that burnt-out warehouse that we looked at, obviously cost is going to be an enormous pressure. Flying goods out in itself, the time that this was taken probably cost about $300,000, and the cost of drugs and medical devices may have been the same again. You don't find that on the back of the sofa. In terms of trying to replenish that warehouse as cheap as possible, that would probably be quite a large consideration. But also speed, I've mentioned that we need to replace these medicines as quickly as possible so that healthcare can continue. Who is going to be the supplier that will be able to replenish and supply us as quickly as possible? Or perhaps accessibility is important. We don't have a warehouse anymore. Maybe we'd prefer to use a pharmacist that's down the road to provide medicines directly to healthcare centres on a weekly basis. There we get ourselves up and running with the warehouse again. Or perhaps familiarity. We're not going to be able to provide the medicines that we previously that our staff are familiar with. So rather than buying something in a different language, maybe we want to buy something locally impassioned that we're confident that they can be given safely. Or again, how about payment terms? It's going to take a little while for our cash flow to return to try and replenish these medicines. Maybe we want a supplier that's going to give us quite generous payment terms. They'll give us the goods now, but they'll allow us to pay in three months time. And ever present with equality. And these are just some of the dimensions. Again, it's not comprehensive, but I think you will get a sense of that. It's unlikely that all of these dimensions are going to be achieved for the scenario that I've just presented. So therefore, what to be prioritised and what to be compromised? And that's really what I'm hoping that my research will contribute to trying to answer these kind of really challenging questions, because at the moment there's very little guidance about how to navigate these kind of moral measures. Because every different situation is quite unique. And it's, as you can imagine, there's lots of different agendas and priorities and expectations from a host of different actors. So I'm hoping that the research that I'm conducting in terms of understanding this, and then in future working towards answering these kind of ethical questions will hopefully mean that decision making has done in a more evidence based and ethical manner for the benefit of patient and healthcare general. And thank you for your attention. I look forward to any questions.


Hi everyone, this is Jason Zach from Nathaniel School of Music and as you can see by my costume we are going to do a Christmas lesson and in this Christmas lesson it's going to be an array of songs, a lot of songs where you probably know the chord progression, you know a bit of the melody or at least you know how to sing it or you're going to accompany someone else who is going to sing it or maybe a group of friends or a choir or anyone, any ensemble really. So one thing is you need to know the chords for sure and you can watch a lot of our Christmas tutorials in the playlist for detailed chord breakdowns and patterns and whatnot. In this lesson it's primarily an accompaniment lesson so there's not going to be any melody it's just going to be chords and how you play the chords you could call them chord patterns. So I've divided our study into five categories. The first off thing which we are going to learn are ballads, then we'll do three by four or waltz style Christmas songs, then we are going to do six, eight feel, then we are going to do the groovy stuff, all the party holiday songs and of course we are going to do a few interesting things like how do we play it in a bluesy or a rock and roll way. So do stay tuned to all the parts of this video it's going to give you a comprehensive approach to understand Christmas music or any music accompaniment really. It's just that in this lesson we are choosing you know our favorite Christmas songs. So play along, get your keyboards out and all of the patterns will be available on our Patreon page. I've handwritten most of them so you could check it out to get exactly what I'm doing in visually as well. Okay guys before we get started it'll be great if you could consider hitting the subscribe button and turning on that bell for regular notifications. We're going to be releasing a lot of new lessons along the way almost daily so stay tuned. Right so the first pattern I have for you would be playing ballads so any song on a 4-4 which has a more mellow kind of uplifting vibe you could definitely do this. So if you take let's say a song like Hock the Herald. Stuff like this it'll work really well. So a good way to develop this pattern would be take four chords in the right hand or if let's just take the F major chord one chord one two three four so each chord is going to be played as quarter notes on the pulse two three four one two and here's how we develop our left hand so we go one two three four start with just one is to four one two three four one two three now to grow this maybe at the four you could slam an octave at the three wherever you want basically an additional beat could be hit here usually one and three works and to make it even more interesting you could add an eighth note flavor here with the octave. Now if you cannot skip over or if you cannot hit the octave at that offbeat eighth note part also what I call as an eighth note you can choose the fifth instead of the octave because you're anyways playing the chords here and I recommend you to generally play your chords close to each other on the piano. So the eighth note creates that momentum the song needs let me count it for you slowly one and two and three so to start with the ballad feel one two three four one just single notes in the left hand however if your chords change faster okay let's change the song now if you feel that the ballad is sounding too forceful with these power powerful you know four on the floor or quarter note chords you can dilute it by maybe breaking it up further by arpeggiating it now when you arpeggiate it especially for a song like okamali faithful you could go just break up the chord instead of going double it one and two and three you could even keep your depending on what pattern you want you want to do the block chord with the go state note maybe for the second part and back to arpeggio and whenever the chords change you could obviously change the chord but retain the pattern you're playing now another strategy would be to combine block chords with arpeggios and i think this works well let's take another song okamalocami manual i'm playing it on e minor oh come oh come we met you well so what did i do there i'm four one two three four one four one so i'm slamming the chord as a whole at the one i'm even playing a triad in the left hand as well if you want to consider or just play the roots oh come oh come if i just take an e minor chord you can block it or rather you can play a block with this ghost note in the left hand so that ballad thing works really well with the singing right or arpeggiate or block it and then arpeggiate even when you block you could kind of flam it so instead of hitting it as a as all three notes together or all four notes together in this case do a little bit of a guitar esque flam you know i'm getting carried away let me move over to the next thing so that we have a lot to learn in this video the next style of christmas piano which i'm going to give you for accompaniment will be waltz songs okay waltz basically means three by four one two three two three not to be confused with six by eight which we are going to learn later because three by four will be one and two and three and three hard hitting on beats one two and everything you add extra will be subdivisions you could divide it by two one two three or you could divide it by three one and two three and one two or you could divide it by four one and two and three and one two and three okay while this is not necessarily a triplet feel the six eight could be considered as a triplet feel okay so with respect to three by four i think a very commonly used song which we have is silent night right so silent we can kind of divide it between our two hands you could perhaps consider left right right left right so silent night oh holy mollusk is left right right left right right left right left right left right right left right right goes on now if you want to make this more interesting you could do giving you a more country okay so you can also do it for you get the idea right so with three four you can make it a bit sneaky or a bit more groovy also especially in a song like we three kings which could do we three kings of oriental bearing gives we travel off up so um pa pa um pa pa that's how you could say it this three feel will work quite well you could also kind of maybe flamenco it a bit you know um pa um pa um left so this is more like very groovy between the two hands almost like you're playing a tabla or something left right right left right left right right maybe more for we three kings you groovy three four songs may not be for silent night and you could flam that first chord um oh maybe merry merry merry merry christmas and now what about a nice three by four arpeggio i think we need that as well right so if it's a more mellow song like like you know the first novel or silent night you could perhaps play it like this this is a nice three four arpeggio i think one and two and three and one and two and three and this could work well for first no the first no or silent night any pattern will work even this could work this is what i told you for noel turn turn turn first three notes lmh mh octave or silent night or silent night now if you're having a problem playing that the more fancy or arpeggio you can even do one two three one silent night works perfectly keep that going okay guys so this is about walls three by four you can do it you can divide it by how much ever you want but it's essentially one two three one how the bells one two three silent now two three the the of a snow one two three and so on and so forth so the the i guess the close cousin of the three by four would be a six by eight feel and we can do that really well with a great christmas song probably my favorite christmas songs of all time oh holy night so if you want a nice six eight feel this is how you do it let's take a c major chord so nice way to play the six eight is use your wrist kind of almost like you're swaying to the music i've done a lot of six eight accompaniment videos we link that in the description you can also see oh holy night i've done a detailed tutorial of that so i won't spend that much time on it in this lesson check it in our playlist so this is how you do six eight one two three four five six one two so oh holy night the stars are brightly shining it is the night of our dear saviour's birth goes on so any six by eight song like even hallelujah or a wonderful world done done done done done or is man say all those songs this pattern will work really well so we've covered quite a few we've done the ballad we've done the walls we've done our six eight now let's get groovy let's get dancy and see what we can do the at the bare minimum you could just do like a marching pattern which i call as umpa you could do this for pretty much any christmas song which you want to add some groove to like maybe take an e-minor chord and let's try an umpa immediately adds a groove umpa umpa umpa what can this be you could even swing this by adding one extra ghost note in the in whichever hand so that's your umpa it works really well so let me break it down maybe with the jingle bells dashing through the snow so left right left right one and two now to make this pattern a bit more interesting i guess could swing it but it changes the vibe depending on the vibe you're going for maybe a mobila go in kind of vibe you could modify this umpa a lot you know you could change it there you can even do an umpa like this in a more reggae works well for jingle bells everything's gonna be all right there that feel you can pretty much do so umpa reggae we can even do umpa and just squeeze in these off beats and you can even do an umpa without the five you can if you want to keep it simple one and two and three four and one uh can another way to make it more modern dancey if you will would be to add a very caribbean groove called the thresio which is what we commonly call the two ways to build the thresio as in accompaniment style one is you could just play the thresio as left right right left right right now if you want to make it more caribbean or even more salsa um we could do a five one five on the beat one and a two and a three and a four and a one and a while the right hand is gonna go oh and i have a lot of fun with just umpa so at the very bare minimum if you're new to the piano play your chords like this root chord fifth chord root chord it's good to work well and just to cap off our series i thought why not make some christmas songs into two of our most favorite genres blues and rock and roll if you take a standard blues pattern on the piano like maybe you know i'm telling you why i hate santa claus is coming to town you can maintain that pattern make it very bluesy um whenever the line ends you could do a lick on on the blues scale which is like either the major blues or the minor blues you could use for your lick so major blues one two three flat three five six octave minor blues one three flat four five flat five minor seventh octave so let's try that with maybe another one root off and the right hand you could just comp your chords a common way to do it would be and usually with blues music and rock and roll we tend to swing so instead of doing da da da da da da da da da which is kind of rock and roll let's try swinging and you're not you're targeting some of the off beats in the right hand like the at the end of the one and three we also call this charleston na na na and i'm telling you why i sent her clothes is coming to town right guys so those were five i guess five into i don't know how many patterns we've done in this video i've lost count but five general approaches to accompaniment on the piano for a variety of music in this christmas themed lesson we have specifically taken christmas songs but this could give you an insight into even other songs which you're planning to to compile or arrange or even compose songs on your own you could see if any of these patterns appeals to you or inspires you so as a recap we've done our ballad stuff very much four four right very peaceful and then we've done our walls could even do the slower one with arpeggios and we have the six eight for oh holy night and we did the dancey patterns and the rock and roll watch the video see the chapter markers to gain some more insights you could also consider a regular course at nathaniel if you'd like you know in the new year by filling up a form in the description and one of our team will get in touch with you and take your admission forward thanks a ton for watching the video guys wishing you and all your loved ones family members a merry christmas and a great happy musical prosperous new year moving forward cheers see you in the next one


Man, there are a lot of shadows on this green screen. I don't think it's gonna look great. Maybe I could just, yeah, is that, does that work? All right, so when I was younger, I absolutely loved the zombie survival guide by Max Brooks and I'm certain a lot of other people that are watching this love this thing too because this sold a lot and it later had a sort of sequel in World War Z, which is an amazing, amazing book. It came out in 2003 and it was basically a parody of a lot of the survival guides that were coming out in the late 90s and early 2000s. You know, there were a lot of them.  And I don't know for certain that this was the first parody of them or even the first big parody of them, but I know it was one of the first. And because it came out in 2003, that means it was well poised to take advantage of the boom in zombie related stuff that really took over in the aughts and early tens. You know, because that was around the same time that The Walking Dead comic began. It's around the same time that the Dawn of the Dead remake came out. Like, you know, it was when zombies were getting super big and the premise of this book is very simple. It's how to survive zombies, you know. It has an opening section which is just all about zombies.  It's not magic.  And then it goes into like supplies and weapons and how to prepare yourself for when an attack comes. And then it goes into like different levels of attack and how you should be prepared for those because like, for instance, if there's only like 15 zombies in your town, you can probably just lock all the doors and windows in your house and hide upstairs and you'll probably be okay. Is there... I don't know if the microphone picked that up. It sounds like there's a dying whale outside my house. It tells you how to protect yourself when you're on the defense, on the attack or on the run. And all of them are pretty good. And then it ends with a whole long section about the history of various outbreaks of zombies and how people have dealt with that over the years. There's a very, very high attention to detail here, which Max Brooks is known for, you know. I mean, he also wrote De Evolution, which was one of my favorite books of 2020. And like I said, he wrote World War Z, which is just one of my favorite books, period. The movie's not great though. In fact, I don't know what I'm going to have playing on the screen. I might just have clips from the film playing back there while I'm talking. But basically, his high attention to detail makes it simultaneously creepy and funny. Like, you know, the very idea of writing a survival guide to protect yourself from zombies is pretty silly. But he just commits to it so much that it becomes weirdly plausible. And then it goes into detail about people being eaten and stuff. And it's creepy. It's worked on both levels. It's very impressive. And when this got big, it inspired a couple of copycats, much like, you know, it happens in all sorts of media. You know, in certain types of movies or books or whatever get popular. It inspires others that want to take over in that same genre, cut themselves a slice of that pie. Including the Vampire Combat Manual. And this is a very similar thing. You know, it's like, it takes a humanoid type creature, which doesn't actually exist. And then it tells you how to prevent yourself from being eaten by them.    And they can also turn you into one of them, which is also a pretty big threat to a lot of people. And this one goes over a lot of the same things that the zombie survival guide does. You know, it talks about weaknesses, how you can actually kill vampires, talks about the types of weapons you should use, the types of tactics to use, all that sort of stuff. And while it is very much the same book, it doesn't work quite as well. Because vampires are just a little bit too smart and too powerful. You know, because zombies, it's made pretty clear in both zombie survival guide and World War Z, they're only really a threat in large numbers or if you're just unprepared for an attack.  Whereas vampires in the mythology that Roger Maw creates here, they are just almost impossible to kill even if you have all the proper weapons and all the proper tactics. Because for whatever reason in this, the only way you can really kill them effectively is to either behead them and even then you have to go all the way through. Like if you only cut their head halfway off, they're still going to keep coming at you and it'll heal eventually. But you can either do that or you can hit them in the heart with a wooden stake. Now, it specifically has to be made of wood. Like if it's not made of wood, it won't set off this weird chain reaction through all of their cells which causes them to self-destruct and then they disintegrate. It's kind of weird. Or you can expose them to ultraviolet light.  Shoot them in the head, won't do it. Stab them through the heart even with silver which does irritate them and delay their healing a bit. That also won't work.   You know, it's just a little too much. Plus, there's this really big conspiracy that the book brings up about how vampires have inserted themselves in high levels of government and stuff. And to give you an idea of how ridiculous this gets, it's very heavily implied that Osama bin Laden was not actually killed in a raid on his house in Pakistan and he actually was turned into a vampire and joined up with them later.  And I mean, if it was going for parody then it would have succeeded but it wasn't, it was trying to be serious. And it just makes the whole thing feel hopeless which kind of defeats the purpose of the survival guide because the whole point of the zombie survival guide is that if you're unprepared, you're fucked but if you are smart and prepared then you should be fine. Like, that's a core tenant of the whole book and the vampire combat manual misses that.  You know, I think Kaiju actually just means big monster in Japanese or something along those lines at least. And this was a fun book although it wasn't perfect. And this one is unique in that it's not really about fighting the creatures that it brings up. You know, it's not about fighting the Kaiju because it makes it very clear a civilian with civilian weapons is not going to do much damage against one of those things. They're just not. It brings up a few minor situations where Kaiju have like offspring that are still small and growing or they have little parasites that ride along with them which are human sized and you know, those are still dangerous but you can fight those.  And it just goes over ways you can protect yourself that way. And in that way it is pretty unique. I did like that. But some of the issues the book has is that Kaiju is just too broad a term and the book even brings that up. It's like, yeah, there's not really a generic template for Kaiju. There's ones that hide out in the ocean and look like big serpents. There's flying ones. There's land-based ones.  There's just, you know, there's too many different types of Kaiju to really go into detail about them and the way they work which is a little disappointing. We don't get much information on their anatomy, that sort of thing. But the stories about encounters with Kaiju are really, really cool. I did like all of those. Those are a lot longer and go into more detail than they did in stuff like The Zombie Survival Guide. And I have read a couple of other of these Survival Guide books over the years, you know. Like I read How to Survive a Robot Uprising many, many years ago. That was a fun one. And I read a different one about How to Survive Vampires but I couldn't remember the title and I've not been able to find what it was anywhere in my research. So it's out there somewhere if anyone else finds it. And the thing is, this is a genre, is what I've been getting at this whole time. Like, it is a genre with a lot of potential but it's really frustrating because almost none of that potential is in any way realized and it's really obnoxious. See, when The Zombie Survival Guide got successful, other people took that same idea and ran with it. You know, it was, again, like I mentioned earlier, there are tons of examples of this happening in books or video games or movies, you know. Like when the Marvel Cinematic Universe came out, a bunch of people tried doing superhero movies and people tried doing connected universes and people tried to combine the two and it really hasn't worked that well in most cases. But the thing is, with The Zombie Survival Guide, when people wanted to rip that off both during and after The Zombie Boom when it was everywhere for a while, when they ripped that off, they just straight up did zombies again. And if you don't believe me, here's some examples. The thing is, if you want to take inspiration from this and do something very similar, that's fine. I'm 100% on board for that. But this isn't an inspiration and this isn't something in the same genre. This is just a straight up 100% rip-off at that point. Like, okay, when Twilight came out and got big, a lot of other people tried writing books that were similar to Twilight. Like, okay, Teenage Girl falls in love with Supernatural Boy and they did it with other creatures like Angels or Vampire, excuse me, not Vampires, like Angels or Werewolves or Fairies or Aliens or whatever else.  But this would be like if someone wrote a book that was trying to cash in on Twilight's success but it was also about vampires and it also took place in Forrest Washington and it also had a love interest whose name was Edward. Like, there's a very fine line between something being inspired by something and something just being a straight up rip-off and it's not always easy to tell where that line is.  And I find that annoying because, like I said, this is a genre with a lot of potential. I feel like you could just take other types of supernatural creatures and write a similar book about it and it could be a lot of fun. In fact, I tried this myself a couple of months ago with witches specifically. I didn't get that far in it but I might, I don't know, I might finish it off at some point. And so just for shits and giggles, here are some other creatures that you could write a survival guide for as it were. And I don't know, feel free to take the idea here. You could write one about ghosts, you know, like you could be, hey, ghosts are kind of dangerous. Here's some of the different types. Here's how you can deal with them, you know, things like that. That could be fun.  The people that talk about that aren't crazy. Here's how you can defend yourself and your family and your cattle if that's the case. Mermaids might be kind of fun. Like, hey, be careful when you're swimming at the beach, that sort of thing. Fae, and by fae I mean fairies, and there's a lot of old stories about fairies kidnapping people or taking them away or replacing your baby with a changeling, that sort of thing. That could be fun. Witches, like I mentioned earlier, there's a lot you could do there. Werewolves, demons, you know, how to prevent yourself from being possessed and how to perform exorcisms on your friends, that sort of thing. Like, there's an endless supply of these things that you could do. And the fact that everyone just focuses on zombies is, I think, the reason why this never really took off as a genre. You know, there's a couple of entries, but I don't think any of them have really been that popular other than the zombie survival guide because, you know, you look on Goodreads, they have like 20 ratings and stuff. Like, just, there's room to grow here. And I just want to end off by saying there's no rule saying that the creatures have to be a secret in the world that you create. I mean, the Kaiju survival guide, it's impossible to keep Kaiju a secret because they're just too big and too destructive.  Like, just, I don't know, this was just a short, fun video I wanted to do because this is a genre which I wanted to talk about but there's just not that much there. There's not that much to it and I find that frustrating. So, that's about all.  You are all the best. If you want to get your name on here and get early access to videos and vote on other video topics, then consider becoming a patron. If you don't feel like doing that, you can always just tip me on YouTube or become a channel member or even just like the video, comment on it and subscribe to my channel. Anything helps. It really does mean the world to me. You are all the best and I'll see you later. Bye.


Hi my name is Danny and welcome to Esoteric Moment. Today I am going to do a basic video explaining what Druidry is. Druidry can be interpreted in a few different ways. It can be seen as a religion, it can be seen as a spiritual practice, it can be seen as a philosophy, or even just a way of life. Druidry at its core is about connection and inspiration.  Druidry sees harmony in the way nature decays and grows and changes in our world. It sees humans as being an important but not exclusively higher than part of nature. Druidry sees connection in the natural world and the role that we play in both benefiting and destroying the natural world. Druids often see through this connection to the natural world a divinity. Many are animist, many see and honor the natural spirits of a place. That's why many Druids also consider themselves to be pagan. Druids also are filled with the awe and wonder of the natural world and find inspiration in everything. And that inspiration I think leads to a real lightness of spirit and joy in whatever passions they may pursue. They might be a musician, they might love to paint, they might find great joy in working for activism and social justice projects, and they might find just great joy and passion in walking the land and their neighborhood. Druids also seek to be wise and to learn not only the natural order of the world but how to be wise in their interactions with other people and whatever passions or jobs they might pursue in their life. Life is not just something that Druids do because they have to while they're waiting for a greater life after death. Life is the purpose. Being here on earth is the purpose. This is where we are meant to be. This is what we are meant to be doing. So they really relish in experiencing all the joys and heartache of life fully. Many Druids believe in reincarnation not for the purpose of reaching some higher or perfect enlightened state but to get to experience the joy and pleasures and terror and pain that comes with the experience of living here and now. Some Druids work on their own as solitary practitioners. Others work in groups or groves as they are commonly called. A grove can refer to a group of Druids. It can also refer to a sacred space in nature, often a grove of trees. They also find stone circles to be sacred. Many of the ancient burial sites in Ireland and the UK can be very spiritually important to them as well. They celebrate the seasons including equinoxes and solstices and the times in between. But because Druids might work on their own or in groups, whatever focus their celebrations take can change depending on their personal preference. There's no set path, no set ritual, and no set collection of beliefs. There's also no sacred texts in Druidry. There are certainly notable authors and historical references that are really important to many Druids practices. But there's no Bible, no writing that defines what Druidry is. When Druids work in groves, they also might belong to a larger order. So we have orders like OBOD, OBOD, which is the order of bards, obaids, and Druids. I'm a member of that organization. You also have ADF, which is an American group. It's very notable. There are probably four or five other larger orders that Druids might belong to. If Druids belong to an order, that might be where they find the authority to call themselves a Druid. They might also call themselves a bard or an ovate for the different kind of classes and focuses in Druidry. A bard being someone who really focuses on inspiration, connecting to Alwyn, and kind of living that passionate artistic life. Ovates are really focused on healing and journeying, connection to the mystical and the mystery. Druids are often as a class really focused on leadership and activism within the community, focusing on justice and wisdom. If someone doesn't belong to an order, they still might call themselves a Druid or any of those classes. It's really up to the individual in their practice to say how they define themselves and what labels do or don't work. For instance, I called myself a Druid before I ever joined an order, mainly because the order I wanted to join had a heftier price to their long-distance course in membership. Even though I was practicing on my own and connecting to Druidry as a practice, I still felt empowered to call myself a Druid even without membership to an order. I hope this gives you a little bit more perspective on what Druidry is. It's kind of a hard topic to be like a Druid is A, B, and C because it's such a diverse group of people and such a diverse group of beliefs and practices. If you are interested about learning more about Druidry, there are some great resources to get started. I would recommend anything by Penning Billington, who's an author, or Philip Cargon. There are titles such as The Druidry Handbook, The Path of Druidry, all great resources to get started, or just learn a little bit more about what Druidry might mean. You can also look at the websites of ADF or OBOD. I think those are two of the larger orders and have more resources online, so they're a good perspective of kind of the different ways an order might approach Druidry. Since ADF has a lot more ritual and reconstruction than OBOD does, but OBOD has probably a more diverse and fluid perspective on it.  I'd highly recommend Nimue Brown, John Beckett over on Patheos, and a couple others that I'll leave in the description below. There are some YouTubers finally kind of crawling out and sharing more about Druidry. Bran, I'll leave a link below, is a musician and has a YouTube channel. You'll find two or three more YouTubers that do Druidry on and off on their videos on YouTube. Of course, I also write a blog and do videos here, so you're welcome to subscribe and see more about my practice. But beyond resources and reading and learning, the most important thing, I think, to getting started in Druidry is get outside. Put your hands in the soil and grow something. Take walks in your neighborhood, even if it's just filled with skyscrapers. There are aspects of the natural world flourishing in that environment, despite man-made structures. Learning to still your mind and connect to your inner voice, connect to the spirit of the place, those are all skills that are vital to a Druid's practice and can be done by anyone anywhere. In the comments below, if you want to hear more about a specific part of Druidry, please let me know and I will add it to my list of videos to do. Or if you just have questions that you want to ask me, personally, leave those in the comments below and I will reply. Thanks for watching and as always, may you find peace in the sacred grove.