Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course on Samasa. We begin our lecture with the recitation of the Mangala Charana. We have been studying Tathpurusha Samasa in this particular course. Tathpurusha Samasa is one of the four types of Samasas in Sanskrit. The other Samasas are Avyaivava, Bahuvrihi and Dhvandva. Panini has stated Avyaivava, Tathpurusha, Bahuvrihi and Dhvandva this order. We said that Tathpurusha Samasa is one of the biggest compounds available in Sanskrit, most productive. The other feature of Tathpurusha Samasa is that it has got various subtypes. No other compound has got so many sub varieties of Tathpurusha compounds and so many of them are extremely productive in nature. We also said that Panini has composed several sutras to explain various features of Tathpurusha Samasa, right from the compound prescribing sutras on words, etc. The Samasa Vidhyayaka Sutras, the Samasantha Praktyaja Vidhyayaka Sutras, the Samasa Swara Vidhyayaka Sutras and so on and so forth. Panini has composed numerous sutras in comparison with other Samasas. This is another important feature of Tathpurusha Samasa. The formation of the Tathpurusha Samasa can be explained in brief in a simple equation of this kind, where we have X and Y, two independent entities in terms of their meaning as well as their word formation as well as the accent. However, they are interrelated and the speaker of Sanskrit decides to merge them together and make one unit in all the three terms, namely in terms of meaning, Swara in terms of the word and also in terms of the action. So, this X, Y which is a generated unit after the compound processing has taken place is of a peculiar kind. It conveys one meaning, it is one word unit and it also has got one accent. This acts as one unit in the output form, in the form of a sentence and the most important feature of the Tathpurusha compound is that it is Y which is the second member of the compound or also the Uttarapada, it acts as the head of the unit. So, that is why Y is shown with the bold character. What it means is that when X, Y as a unit is to be associated semantically with any other external unit in the sentence, Y will be the one which will get connected and X will not be allowed to independently get related to any other meaning which is external, that is the implication. Now, when such a thing happens, theoretically the Samasa would be called Asamartha Samasa and we have studied this aspect earlier in the course. We studied the Vibhakti Tathpurusha primarily and different Vibhaktis were stated in that section and the compound was also stated therein. In this order, and finally Shashti, the Vibhakti Tathpurusha highlighted the fact that the Samasa is based on the Karaka theory. Then we moved to Karamadharya, another extremely important subtype of the Tathpurusha compound. This is stated in the section 2149 up to 2172. The Adhikara in this particular section is Samanadhi Karanena when two words are correlated in terms of coreferentiality. So, the Karamadharya Samasa is defined in Paninian grammar as Tathpurusha Samanadhi Karanaha, Karamadharya. That Tathpurusha Samasa in which the constituents denote one and the same entity as a referent is termed Karamadharya. The term Samanadhi Karanana is explained in a very nice manner in the tradition in the following line. The state of being Samanadhi Karanana is Samanadhi Karanana. This is defined as Bhinna Prabhupinamittasya Anekasya Shaptasya. The state of being Samanadhi Karanana is Samanadhi Karanana. This is defined as Bhinna Prabhupinamittasya Anekasya Shaptasya Ekasmin Arthivrathihi Samanadhi Karanyam. The multiple words which have different causes of their usage when they stand for one and the same referent that is called Samanadhi Karanana. Those words are said to be related to each other in the Samanadhi Karanya or the coreferentiality. Now after having studied the initial sutras in this particular section, let us proceed further and study some more sutras in this particular section stating the Karamadharya compound. Now the next sutra, 2153, is Kutsitani Kutsanaihi. There are two words in the sutra, Kutsitani, this is one-three. Kutsitta is one who is censured and this is one-three. So the word which is Kutsitta or which is censured will be termed Upasarjana by the sutra Prathabhaniradeshtham Samasa Upasarjanam. And then the sutra Upasarjanam Purvam will ensure that the Kutsitta word occupies the initial position of the compound, what is known as Purva-Nipata. Now Kutsanaihi is the instrumental plural three-three and it means with the words of censure. The words continued are Sup and Sahasupaa and of course Samarthappadavidhi. The word Samaradhi Karanayana is also continued, which means with the same referent. Now Samaradhi Karanayana and Kutsanaihi because they have the same Ibhakti, they will be put together when we make the meaning of the entire sutra based on this much information. So the meaning of the sutra overall is that any Subanta which denotes one who is censured is compounded with any other interrelated coreferent Subanta which is a word of censure. I repeat any Subanta which denotes one who is censured is compounded with any other interrelated coreferent Subanta which is a word of censure. So now the meaning is a Grammarian who points towards the sky, this is the literal meaning and the idea is that of a censure. How? When asked a question a Grammarian who instead of answering it with concrete answer by citing the grammatical rules and the grammatical procedure and so on and so forth points towards the sky indicating thereby that the Grammarian does not know the concrete answer. And this is precisely what is the intention of the censure and so this Grammarian is censured. The tradition has used the word nishpratibhaha ittyarthaha. So this Grammarian is nishpratibha there is no pratibha he does not apply himself and does not use his imaginative power nor his memory which reminds him of particular and specific sutras which apply in certain particular places. So this meaning is conveyed by the following words vayakaranaha khasu chihi. Kh means sky and su chihi is one who points. So vayakaranaha khasu chihi vayakaranaha is Grammarian. Now both these words are co-referential they refer to one and the same person and so there is the semantic relatedness. And so now these two words will be compounded amongst them vayakaranaha is the one who is censured so he is kutsita and khasu chihi is a word which is an expression of the censure. And so now the conditions for the sutra kutsita ne kutsa nahi hi are fulfilled and so these two words will be compounded. So we will have vayakaranaha plus su plus khasu chihi plus su this is the alawkika vigraha. Now the samasa process begins this is termed as samasa and so this will also be termed as pratipadika. And now both the su pratyayas which are part of the pratipadika they will be deleted by the sutra supodhatup pratipadika yoho. So now we have vayakaranaha plus zero plus khasu chi plus zero and then we join these two words together and we get the finally derived compounded output in the form of vayakaranaha khasu chi. Similarly we will also have the meaning mainly a cunning priest. What it means is a yajya yajana trishna paraha who is devoted to thirst of making people do the sacrifice where they shouldn't so one who makes people do unnecessary sacrifice and then earns some money from them. This is part of the censure and so in this sense we will get the compound yadnika kitava the cunning priest yadnika kitava. This is the censure yadnika is the kutsita one who is censured. Kitava is the term which expresses the censure and that is why these two words get compounded. And since kutsitani is mentioned in prathama so yadnika who is a kutsita will occupy the first position in the compound final output of the compound. Similarly when we have the meaning unbelieving hermititian. So the primary feature of the mimamsaka is the belief strong belief in the authoritativeness of the Vedas. So astinastidishtam matihi is a sutra which tells us that one who thinks that the Vedas are authoritative is astika and one who does not believe in the authoritativeness of the Vedas is anastika. So a mimamsaka generally thrives or generally accepts the authority of the Vedas but this is a mimamsaka very strange who does not accept the authoritativeness of the Vedas and that is the censure of this mimamsaka. And so mimamsaka is kutsita and dur-duru-dha is the kutsana term and so now kutsita occupies the initial position of the compound and so we get the form mimamsaka dur-duru-dha. One who does not believe in the authority of the Vedas, nastika ittyartha. Kutsitani kutsa nahi. Let us proceed further. So we have to 154 papanake kutsitaihi. In this sutra there are two padas papanake and kutsitaihi. Papanake is one slash two prathama dvibhachana with the words papa and anaka. Now this word is mentioned in prathama. So the sutra prathama nirdishtam samasa upasarjanam will term it as upasarjanam and then upasarjanam purvam will ensure that papa and anaka these two words they occupy the initial position of the compound. By the sutra upasarjanam purvam. Kutsitaihi is the instrumental plural of kutsita those who are censured. In the previous sutra kutsita was mentioned in prathama. So the kutsitas occupied the initial position in the compound and the kutsana occupied the second position or the uttrapada in the compound. Now in the case of the words papa and anaka which are the terms of censure they are mentioned in the prathama dvibhachana. So they occupy the initial position of the compound and the word kutsita those who are censured this is mentioned in truthiya and not in prathama. So the words were kutsita they will occupy the uttrapada or the second position in the tadpurusha compound. The words continued are sup and sahasupa. The words samarthapada vidhi also continues also is samanadhi karana continued which means with the same referent. Now the meaning of this particular sutra is the subantas with papa and anaka as the prathipadikas are compounded with any other interrelated coreferent subanta. Which denotes who is censured. I repeat the subantas with papa and anaka as the prathipadikas are compounded with any other interrelated coreferent subanta which denotes who is censured. So now the meaning to be conveyed is wicked potter and so we have papa kulalaha as the laukika vigraha and then we have papa plus su plus kulala plus su as the alaukika vigraha and then the term samasa applies over here and so the term prathipadika applies over here. And then we see that both the su's they are part of the prathipadika so supodhatup prathipadika yoho applies and deletes both the su prathiyas. So now we have papa plus zero plus kulala plus zero and then we join the words together and we get papa kulala as the finally derived compounded output. Which expresses the same meaning as papa kulala. Papa is the term for censure and kulala is the one who is censured so kulala is kutsita and so it occupies the second position in the compound. Similarly we have the meaning insignificant potter and so we get anakaha kulalaha and both these words are related in the relation of coreferentiality because both of them are referring to the same person. And so the compound is prescribed and we will have anakaha plus su plus kulala plus su as the alaukika vigraha and the samasa saudhnya applies and so also the prathipadika saudhnya applies. And then we notice that there are two su prathiyas in this particular prathipadika and they get deleted by supodhatup prathipadika yoho. And so now you have anaka plus zero plus kulala plus zero and then we join them together and we get the form anaka kulala as the finally derived compound form. Which means the same thing as anakaha kulalaha an insignificant potter. Now we go to the next sutra upamanani samanyavachanahi 2155. This sutra has got two words upamanani and samanyavachanahi. Upamanani is prathama bahuvachana where words denoting the standard of comparison are stated because this is in prathama. So by the sutra prathama nirdhistam samasa upasar janam the upamanu words will be termed upasar janam and then upasar janam purvam will ensure that these terms occupy the initial position of the compound. And samanyavachana is the word in the instrumental plural. Samanyavachana is the common property which is stated in the presence of upamanu. So upamanu and samanyavachana are stated here and there is another technique, technical terminology involving the words like upameya and the sadrishya vachakasapt and these will come in the coming sutras. Now the words continued are sup and sahasupa and samarthapadavidhi is also obviously there. Samanadhi karanena also continues which means with the same referent. Now the meaning is the subantas which are the standard of comparison are compounded with any other interrelated coreferent subanta which denotes the common property between the upamanu and also the upameya. I repeat the subantas which are the standard of comparison are compounded with any other interrelated coreferent subanta which denotes the common property. So now we have these meanings to be conveyed. First someone who has dark complexion like a knife. This is a description of a lady and the standard of comparison is knife and the common property between the two is shamatva being dark. So we have shastri ivasyama. So shastri and iva and shama three words are used. Shastri is the upamanu, iva is the upama vachakasapt, shama is the sadrishya vachakasapt and of course upameya is not mentioned. Now in this case this sutra is saying that shastri is compounded with shama. So we have shastri plus su plus shama plus su and they both are related as coreferentials. So there is samarthattva and so there is compound. So now we get the samasa saudhnya, then we get the pratipadika saudhnya. Then supadhatupratipadika jo applies and deletes both the sups.  Similarly we have someone who has white complexion like white lotus, kumudam ivashyeni. So kumudam is the upamanu, iva is the upama vachakasapt, sheni is the samanyadharma, samanyasapt and upameya is obviously not explicitly mentioned. So now we have kumudha plus su plus sheni plus su as the alaukika vigraha and here samasa saudhnya applies and so the pratipadika saudhnya applies. After which the sutra supadhatupratipadika yoho applies so we have kumudha plus zero plus sheni plus zero and then we join them together and we get kumudashyeni as the finally derived compound output. These are the examples of upamanani samanyavachanahi. Now the next sutra in this section is upamitam vyagradhibihi samanyapryoge. There are three padas in the sutra upamitam vyagradhibihi and samanyapryoge. So upamitam is in the prathama-vibhakti, something that is measured and this is in the prathama-vibhakti. So by the sutra prathama nirdishtam samasa upasarjanam, this will get the upasarjanam term and then by the sutra upasarjanam purbam, this will occupy the initial position of the compound. Vyagradhibihi is in the instrumental case, which means with a group of words beginning with vyagra, obviously this is the upamanana and the other strange condition over here is samanyapryoge, when the common property is not intended to be mentioned. So in such a case in this environment, the karmadharaya samasa takes place. So the words continued are sup, sahasupa, samartha-padavidhi and of course samanadhi karanayana with the same referent. So the meaning of the sutra is the following. The subantas which are intended to be measured are compounded with any other interrelated coreferent subanta whose pratipadikas are from a group of words that begins with vyagra, when the common property is not intended to be mentioned. I repeat, the subantas which are intended to be measured are compounded with any other interrelated coreferent subanta. Whose pratipadikas are from a group of words that begins with vyagra, when the common property is not intended to be mentioned.  Now there is no samanyapachana, shuraha and so on that is not there. Purusha is the upameya or the upamitha as mentioned in the sutra. Vyagra is the upamana and eva is the upamavachaka shabta. Now purusha and vyagra they are related because they are coreferential and so now they will be compounded. Purusha plus su plus vyagra plus su, this is the alagukika vigraha. So samasa saudhnya applies and so the pratipadika saudhnya applies and the deletion of both the su's up happens and finally we get the compound output in the form of purusha vyagra which expresses the same meaning as purushaha vyagraha eva. We also have following words derived in the same procedure by the same sutra.   The tradition has noted that this is an open-ended group of words. So there are several words that are added and this is also very productive. To summarize, the karmadharaya compound is stated between two coreferents. The standard of comparison or upamanu and what is measured upameya are also having coreferentiality. In fact they are also treated as qualified qualifiers. In order that particular words should occupy initial position in the compound, these rules are stated with these specific conditions. That is the purpose. The general rule related to qualified qualifiers will be stated next. These are the texts referred to and thank you very much.


What's going on everybody? Chris from jasseskatesprakes.com doing the second half of the case. We started just two videos ago This is 2022 select football six box hobby half case break PYT number seven number eight already done PYT style Let's switch it up. We had one filler to do for it So for the seven people who got in from mosaic 16 when you see that mose 16 next to your name That's where you got that spot from and here we go Chris from the Cardinals One of the teams we gave away all the way down to Tammy with the camera is one of our All right. Thanks again everyone good luck Number seven on the side of these boxes to show Second half of this case Joe in right now Number nine of select on the site number ten on the site shortly after is that our last case of select? Then they get it You can grab personals now if you want to select football jasses breaks on the Instagram Jason Jassby in right now Or if you want to rock on this next case and then one more after grab those spots now Grab them early grab them as quickly as you can Get that second case of the 11 and 12 Put Joe Jassby to work on his Friday SRC and PYT eight, which was the other half of this case and True crazy. No, no One one gold So let's see if you can grab something nasty here Monsters brothers studs Red quay Walker going to the Green Bay Packers Q-dub 70 out of 149 Nice tie-dye on the suit level Matt Stafford Going to the Rams go to Jake. I thought one straight up seven out of 25 on the staffer Justin Fields silver snapshots He's got some weapons this year folks do not look past the Bears Logan Thomas will call a match for the commanders Tammy 22 out of 49 and our first autumn ice teddy Bruce key This guy was a fan of the Bruce keys you could just tell One of the New England Patriots and run I start Tricolor cow pits for the Falcons Nester got that one from mosaic 16 team random filler at a 249 rookie signatures Hassan Haskins nice little white little color match there But the Tennessee Titans Eric grab the Titans straight up three out of 35 Blue Allen Robinson the second for the Los Angeles rims one more for Jake Five out of 99 and a thickie here Whoa nice Zebra Stripe Sensation for Derek Henry the king One more for Eric and the Titans just a crazy looking car the Zebra's so nice and select Jerry goff on the select sparks tie-dye to color patch Detroit Lions and Evan from the mosaic 16 13 out of 25 Timido rookie Silver just like PYT eight which we just knocked out. This is also a wax party Get your invites in RSVP while you still can getting some breaks designated wax party on the site Some pretty crazy wax party giveaways come up now six wax party spots being given away in that 64 box mixer for basketball Two spots being given away in that full case of a mac yet first off the line R&B style We're getting to that point folks where some pretty nasty breaks full We'll merit more wax party spots being given away. Thanks. There's our first XRC Drake London Silver as well Blue Cooper Cup I'm talking very colorful breaks so far one more for Jake 137 out of 149 Chris. I'm on it and a gold die-cut nice Die-cut gold die-cut auto Elijah Moore For the JTS jets jets jets going to Adam cupperman Thank we we have our select XRC checklists What number is it? I don't know. Yeah, I wanna wait so I mean revealed it yet. Not yet Tower Smith out of 199 for the boys goss cowboys going to Autograph Not yet. No, it's all just all randomized randomized at the end of the break Kobe tie-dye Kobe Bryant for the Seahawks and mark to what a 25 tricolor Devonte for the Raiders Joseph K 167 out of 249 That doesn't read her first doesn't winter going to Nester and the Falcons and one more for the Raiders Rookie signatures is a meter whites 14 out of 49 One more for Joseph that white blue very nice with that black and gray tricolor JK Dobbins JK Dobbins going to the Ravens and Zachary 50 out of 149 and One more for the jet Zach Wilson on the select swatch one more for Adam Gramps us Jetson both seven and eight of this case Had a pretty solid break in the last one too. All right Good luck everyone Congratulations 233 XR Prism Redemption Card 520 520 defense 3 520 tie we Wilson What a break for the Raiders here, huh? We're just having a nice box here One more for Joseph K OVR on the card itself nice one there Texas that's fair when he was a kid that's a man's still a pretty hefty jump People don't forget Joe people never forget Yeah, exactly You're just the hashtag kid from acronym You are Tyree Wilson in the bronze games if you really think about it How are you Wilson 6 6 275 sounds just like me edge rusher or wine backer Some good measurements here is box tree the bidi bop bidi boo Tough one tough one for Joe Jasper Another XRC to that one for last again you're an icon silver deck Prescott try color Eek and McWanoo for the Carolina Panthers and Andrew 80 out of 249 And Cedric Wilson Jr. First Auto blue For the Miami Dolphins and Eric Houston 84 out of 99 What blue Jerry Judy? Tough feel that Jerry Judy light blue going to Nestor in the Broncos Right to Marvin lay out for my Steelers Yeah, that's yes a seven try color on the James Connor right in here James Connor light blue on the field level six out of 75 Marvin lay out red for my Steelers 35 I did Because just one of the other stuff is putting out, you know They a spiller on the rookie silver Wow Numbers game on Monroe St. Brown little clearly little acetate. Don't think I've ever seen one of these from this product yet Yeah from contenders football. That's why a A Monroe St. Brown numbers game auto on car for the Detroit Lions and Evan It's very clean right there. Very nice We show it off real quick See right through it. I'm looking through you Blue Derek Carr Raiders Edition on the Derek Carr go into Joseph K 66 out of 199 John Burke silver neon icon And Durwin James jr. Well, nice light blue patch there that powder boil 61 out of 99 for the charge I know my Beatles All right second XRC, good luck everyone got the checklist here once again XRC prison redemption 506 That's QB six. That's gonna be Jake Hainer from the New Orleans Saints Saints getting back on the board Chris Knowledge no why tell me why did you not shoot me right? Love has a nasty Ring overnight still got it. I still got every now and again I know I think you know in my in my youth. Obviously, I thought I was a Paul That is simply not the case That's his his range is pretty crazy actually Yeah Yeah He still hits it man He's a marvel he was always my mom's favorite too Yeah, that's pretty true ladies like Dalvin even Ringo It's what the Ringo star all-star band or whatever Good time. He's a real star Box for a second half of this half case for Darian Mathis to 75 for the commanders And another zebra stripe a nice rookie here, too Majae Sanders for the Cardinals Chris gets that one in the Filler nice zebra stripe rookie. I know I say it every time but so sharp on those red edges That's very nice. It's silver Tom Brady on my Is Skid row right They're not showing the gritty South Bay No, we're about what about nice? You know what I mean Patrick Holmes sparks patch going to the Kansas City chiefs number to 99 Nathan That's pretty good Yeah, she'll Compton Joe Watts 34 to 99 they did actually feature the that Maggie Hathaway Of course, and you know what I didn't hear really yeah, but they're a couple times. Oh, yeah, they're we don't worry Cooper I don't really yeah, they got like 15 million dollars from the USGA good My group of women part of them coming to LA us open and all that sort of magic. Yeah, they're they're gonna renovate it basically redo Like the facilities redo the course. I think some games architects gonna redo it for free or something like that. Nice You're an old-school name one of my theories as a kid Brian Erlach Chicago Bears Hall of Famer five out of 75 going to sky. We do He was great. He was so fun Got a Derrick Forrest junior by the way 71 out of one for a nice spit in the people's faces one more Desmond Ritter for Nester at the Falcons Actually, no, that's not one thing, you know, we're thinking of maybe Jeremy shocky Romanowski. Yeah, Romanos is the other one, too Yeah, yeah defensive players man. They're crazy.  I want to be a running back. I want to know I want to be a wide receiver, but you know Got a redemption here Yeah, no, I get it. I hear ya to Sean Watson the 249 go into the Browns and Eric and a redemption. Good luck everyone Not too familiar with the redemption checklist for this year. So let's find out together. Shall we? rookie signatures a light blue prism Card number 40. They're nice D a m Damien Pierce I swim for the Texans Adam Cufferman got the Texans That should be out of 49. I think nice one there He has a moment where people are like, hey, he might win rookie of the year offensively Don't be surprised if Houston's a little better Was CJ Stroud behind the wheel there'll be some growing pains obviously, but you know more always rooting for the kids It's good for the hobby. It's good for the sport Oh my god, Joe, I went to the I wouldn't this is not an ad by the way If anything, this is a warning to all the people who live into the South Bay at the PGA Tours Superstore in the Mita Yeah I went in I went in just to get a golf glove just a golf glove Needed a nude. No, I I like the titleist one golf club. Okay, it's always good. I was between that or Cal way I like how it's golf clubs to anyway $25 golf club. That's all I wanted. But you know Father's Day weekend, you know the guy tells me Hey, go go look around me want to grab something for your old man. Okay, sure So I check out the clothes. Yeah, nothing really too crazy, but then I go check out the shoes They had All the Jordans not all the Jordans they had the Jordan one lows in black and white, but not the white in my size But it wasn't really from the black one. They had all the our max 90s all in all the new Nikes I'm like, yeah, they're cool But you know not whatever knows some new balances, which I like to rock on too I have a Malabon new balance 997s, you know, good golf shoe, but nothing too crazy And then I walk past the adidas section and they have made the og adidas ultra boost one into a golf shoe And I will always say this to the day I died This is again not an ad but the adidas ultra boost is the most comfortable shoe ever made. It just is and The og cut away the black and purple $200 and I tried it on I shouldn't have tried it on in the first place because I was I walked on them like five feet Okay, that's it. I took a mom $200 I will see now $25 I'm wearing them on Saturday. I'm playing on Sunday Box five so now for the Marcus Jones for the new even Patriots Adam Comperman Do not wrong excuse me. It's wrong new. They're incredible. They're just the best shoe I've ever made Nice very nice Good call Nice Garrett Wilson Try color to 249 that one's for Adam Comperman and the Jets your offensive rookie of the year Very sharp to 249 first it's gonna be a Ricky waters on card for the Niners going to Sean Matic That those Niners straight up Sharps in the chair for Ricky waters for Sean Bateman red for the Ravens Zack Snell 146 to 149 So yeah, just any any golfers in the South area Please watch out. I'm to me. I'm to and you all favor heed my warning take my advice Trying to help you Both those silver eight and Hutchinson's by the way going to the Lions and Evan got that in the team Purple say corn Barkley 66 out of 75 for the Giants and Jake doesn't read her my sweet level there Me on icons, can you pick it and six out of 75 nice RPA of Kenneth Walker One more for Mark got the Seahawks in both these breaks seven and eight Nice Ken Walker little color match there six out of 75. Just make that six and two and nine Just flip it upside down here the number match Nice one there The Kenny pick it going to John and the Steelers That's sweet that field level doesn't ridder going to Nester at the Falcons Tydeye for Kwan Smith 16 out of 25 on the sweet level very sharp for Zach Next up one more one more painting rookie swatch Rookie swatch For Pierre strong junior one more for the Pats and Ron 27 out of 99 Josh Allen silver. All right last box. We got a couple XRCs, but No surprise to see if we can grab on here little last box mojo Then our wax party invite and then Joe we take care of the rest of the night It's so great. I'm one of my personal favorites Duncan. I agree It's so nice What's even better is that we got 9 and 10 and PYT up on the site right now just as case rakes.com The people wanted more so we'll give them more Grab your teams while you still can last box everyone Good luck and thanks again for getting in on this one film this out team randoms one fellow Seven teams too, so a good chunk of teams picked up straight up. Let's do it. Thanks again y'all and good luck My blue one Dale Robinson for the G men. It's going to go to Jake 50 out of 99 First all are going to be willy galtz on the Silver Non-numbered here for the Chicago Bears though. Gonna go to Scott got the bear straight up Old school bear Red on the Evan Neil one more for Jake and the Giants 30 out of 149 Romeo Dobbs Blue for the Packers and mark 199 out of 199 little bookend action there Whoa, nice green neon icons Dalvin cook That's a nice little number one right there I'm gonna see one one out of five go into the Vikings Douglas Haven't called that name too often, but a nice one there Skoll nation out of five Dalvin cook So A cookbook of Dalvin cook How about a Dalvin cook if he gets into fashion could be a Dalvin cook Wooka book Brian Burns on the Chai color sweet level 143 out of 149 for the Panthers and Andrew And one more Kenneth Walker nice white.  We'll take that Titans and Eric 84 out of 99 trick one didn't silver By Robinson jr. On the silver lucky as well. All right, there we go one last point of business here before we call to break though One wax party spot up for grabs. Let's switch screens Adam at the top Denton Zach with the Ravens at the bottom our fresh dice and our fresh list top spot only gets in on this Good luck everyone. Thanks again for getting in one and two three times top name gets that wax party invite one That's a whoo a three crunch 232 sad times, but hey, like I said plenty of chances to get back into the wax party get your invites in RSVP Not BYOB. You don't need to bring anything just yourselves and a smile a two with Jake 232 sad times But top spot congrats to Evan from the filler That's Evan congrats. Thanks again Take that here with that here Seven six fifteen. All right, perfect. Thanks again. Call it a break folks Jasper's case breaks calm one and two half case breaks of select on the site right now Nine and ten. Thanks again y'all touch the case with the calm


Romanian General Staff Chief Seysputin will not stop and called to prepare for war with Russia. Like all European residents, the Romanian population should prepare for the possible expansion of Russian aggression. These words were said by the head of the General Staff of the Romanian Armed Forces, Zhajita Vlad. Russia has become a problem for the world order and democracy, so it is at war not only with Ukraine, but with the democratic world. Like all the people of the European Union, Europe, the people of Romania should be worried and we should take appropriate measures to prepare, he said. Vlad stressed that Russia will not stop if it wins in Ukraine and will probably attack Moldova and cause escalation in the Western Balkans. Vlad emphasized that Russia has become a problem for the world order and for democracy and thus it is wading war not only against Ukraine, but also with the democratic world. The population of Romania, like the entire population of the European Union and Europe, should be worried and we should take appropriate measures to be ready, he said in a statement. I am more than confident that President Putin will escalate in the near future, Vlad said. The Romanian military leadership urged NATO countries to replenish arms, stocks and prepare the population, most likely by instituting voluntary military service for the entire population.


We're just waiting a few more minutes. We're just waiting for a few more folks to be able to join us, and then we'll get started. Hello, everyone. Hello, everyone. We are just going to wait a few more minutes so more folks can join us. But I want to welcome all of you, all of those who are watching through HowlRound. Hello to all of you. I just want to let you know that you are able to join directly through our Zoom link. And you can chat with us and interact with us through our chat box. HowlRound has their website. However, you'd have to refresh it continually to be able to find our feed at the very bottom. And at the comments, there'll be the link for the Zoom room. And you can go ahead and click that link to join us here in this Zoom setting. And then you can join us directly and interact with us here. So we would love to hear from you. We would love to hear your feedback. I know Monique would love to hear your feedback and your thoughts. So that would be wonderful. And Monique is saying she just said hello. So I'd like to just explain a few things while we're waiting for other folks to join us. So first of all, hello. My name is Garrett. This is my name sign with the G on the chest. I'm not directly involved with this production myself. However, I'm facilitating this evening's discussion. And I'd like to, I'm actually very honored that IRT and Monique asked me to moderate this evening. So thank you for that. For those of you who are joining us tonight, we're going to start with a brief discussion with the panelists. I'll be posing some questions. And while we're discussing, please be thinking about comments, some feedback, some thoughts, some questions, anything brewing in your heads, pros and cons, positive or negative, good, bad, ugly. Please share. Please tell us. Please tell Monique. Bring it on. And the simple way that you can do that is in the participants section, you can click on the icon that says participants and you can click on the raise hand feature. And that will come up with a blue hand icon. And that'll immediately pop up by your name. And we will be able to see, we'll get a notification and we'll be able to bring you into our room. And we will be able to discuss and interact with you directly. So please feel free to raise your hand at any point during the discussion. And it won't bring you into our Zoom right away. We do have a stage manager. Her name is Emily. And when I'm ready, I'll let Emily know to bring you in. So you can go ahead and click the raise hand at any point that you would like to ask a question or make a comment. And then we'll bring you in when the time is right. So please don't feel any pressure to do this if you have a comment or question. And if you don't feel comfortable asking in front of the group for whatever reason, that's absolutely all right. At the bottom of the screen, there's a Q&A section as well. At the very bottom of your screen in the toolbar, if you'd like to ask a question or make a comment there without coming onto the screen and joining us without the camera on you, I will be happy to sign the question or comment for you. We would obviously prefer to see your beautiful faces, of course, but we would understand if you'd prefer to type your question. I'd like to emphasize, for those of you who haven't experienced this kind of platform, this kind of media format, you won't see other members of the audience. You're only going to see the panelists. And currently you should see, I believe there's 11 windows all together on your screen that you should be able to see right now. So you won't see the audience members. If you'd like to chat with audience members during this discussion, you can go ahead and utilize the chat box to do so. So the chat functionality is there for your use. However, I'm not going to be fully attending to the chat box because I'm going to be paying attention to the panelists and what we're discussing up here. So if you'd like to chat, it's kind of like a backstage chat. You can feel free to do that. But just be aware that we won't be fully attending to that chat box during our discussion up here. And if you'd like to ask us a question, please use the Q&A box. So thank you so much, Amelia, for reminding me. Please click Gallery View to see the entire list of windows, excuse me, the entire screen of panelists. So it should say Gallery View rather than Speaker View. And then you'll be able to see everyone participating. If you only see one window right now, you'll need to click on Gallery View. So thank you for that reminder, Amelia. OK, great. So if you are seeing one screen, then you're going to need to click Gallery View. So I know that's a lot. And I think that's sufficient for now. And it looks like we have a cameo appearance from someone else here who just joined us. So again, for those of you who just joined us, my name is Garrett. I'm the moderator for this evening. And I'd like to quickly go through and have everyone introduce themselves, except for the three interpreters. I misspoke two interpreters, but we actually have three interpreters tonight. So if a hearing non-signing participant of tonight's discussion would like to make a comment or ask a question, we do have inside language interpreters for your disposal. So we will be happy to do that for you. So regardless of communication mode, communication modality, we will be happy to work with it. So come on. So first, let's start with Monique. If you could explain who you are and your role in this production. Hello. My name is Monique Holt. You can call me Momo for short. And this is my name sign. I'm the playwright and the artistic director of this show. My pronouns are she, her, hers. Thank you. And next, Amelia. Hi, my name is Amelia. This is my name sign. I'm the assistant director and editor of this piece. Great. And Andrew. Hello, everyone. My name is Andrew Morrill. And this is my name sign. I go by he, him, his, and I am an actor. And Joey. Hello, I'm Joey. This is my name sign. I'm an actor. And I use he, him, his pronouns. Jackie. Hello, I'm Jackie Ross. I'm an actor in this production. Malini. Hello, I'm Malini Chaitou. And I'm an actress in this. I go by she, her, and hers. Dickey. Hi, everybody. I'm Dickey Hart. This is my name sign. And I use he, him, his pronouns. I'm an actor in this piece. And the other three folks are our interpreters for this evening and Monique. Actually, let's go down to who just joined us. John Yi, please share who you are. And my name is John Yi. And I worked as the animator for this production. The animator. So you did the computer animations for this. Wonderful. Perfect. All right. So let's start with Monique, of course. The top dog for this production. If you wouldn't mind sharing briefly, how did this show come about? How did it start? Sure. So I had started working with IRT previously on some other projects. And it become known to me that they were looking for a particular person for this extra, for this additional piece coming up. And so when I was asked to produce something, the idea came to me. Please untranslate me. And that was a title that just initially came to mind that I thought I wasn't really married to. So I tried to get rid of it. I tried to see if any other ideas would come to mind. But for some reason, it just started to take its own shape and form. And from there, we just started expanding upon that. And that's what became what you saw today. And I'm assuming this all started before COVID-19. Yes, this all happened before. So when the pandemic hit, how did it change your preparation for this production? Oh, COVID had a huge impact on the vision and the interactive portion of the production. I originally had an intention to utilize a scrim in the stage play. And so it was going to be able to capture different movements, capture different characters and their identities, and being able to interact with those characters, as well as those who were going to be in front of it on stage. The ASL poetry portion was meant to have a dense choreography to it with music. But since we were limited to the Zoom screen, we dropped some of those pieces of the multimedia. So that wasn't entirely possible. But we made some adaptations. Amelia, fortunately, through our discussions, she has some great editing skills. And so we, through our discussions, started to think about other ways that we could edit the film or edit it to make it what it was. So thank you for your help, Amelia. Wonderful. Thank you. Now, was this the first time working with animation for you? Yes. Yes, this was a first for me. I had worked with other multimedia tools, but for animation it was a first. And what was that experience like working with animation and working with Johnny? Well, really how I had envisioned the animation was meant to be an interview. Did you say an interview? I interviewed animators all over the United States. Got it. Thank you. And so I was looking for some really talking to some top level animators, to some entry level ones. And Johnny really kind of had me thinking that he was almost toward the top in the nation. And so I had chosen to work with him with Johnny. And through our interactions, I had never really seen his kind of work in theater. And it got me really thinking I would love to work with him. So that's why we chose him. So Johnny, was this the first time working on a theater production for you? Yes, it was my first time. So what was this experience like for you?  How did you feel? Was it new for you? Was it challenging? It was a surprise. There were some challenges. I'd never experienced making animation for a theater production before. You know, in terms of moving the production along, I received the script. I was able to look it over. Once I was able to look it over, I asked questions about things that were confusing for me. And then I'd share my ideas about the animation. I would test things. I would make simple animations. I would ask, is this the idea? Is this kind of what you're thinking of? And so we'd kind of go back and forth. And if it wasn't right, then I'd make some edits, make some changes. I'd submit those and make sure those were to her satisfaction. So previously, my animation background, it tries to mesh and gel with what the artist's envisionment is. So I was really proud to work with everyone in this theater company. It was really wonderful. So I'm really happy that it worked out. Really awesome. So proud of your work. That means that you would be willing to do another theater production in the future? Yes, I would like to do more. Absolutely. That's wonderful. We will look forward to more of your work in the future. Thank you so much. So I'd actually now like to turn my focus to Amelia. Hello, Amelia. You were the assistant with Monique on this production. When I say assistant, what were those duties, those responsibilities? Obviously editing, which bravo. So that was one of your main responsibilities, editing the production. And then what other processes were involved? Assistant director, one of my responsibilities was making sure that the actors had enough light, which was the most challenging part of the process, believe it or not. Joey. I informed them where to direct their eye gaze. It's a challenge on Zoom. You've got these screens. And we wanted to have a standardization of where people were looking. And so I would say look up to the top, but on my screen, they'd be on the bottom. And so we had to make sure people were looking in the right direction for me. And of course, I was supporting Monique. And we would have sessions where I would give her some advice on my observances. And of course, I edited this piece. And Zoom has a specific look. And we really wanted to avoid that. It looks dark. It looks heavy. And our goal was to bring levity and color to this piece. And we wanted it to be interesting visually. So that was part of my responsibility of process. Now, how long did it take to edit this production? I only had eight days to edit the whole thing. Eight days. Eight days, yes. That's not you. Did you sleep? Did you sleep at all those eight days? A couple of days, and there were a couple of days that I didn't, but I'm alive.  That forces you into that kind of work. Absolutely, you put it perfectly. So now I'd like to focus my attention to all five actors. So I'm wondering, what was the most challenging aspect of this for you? I'll go, Andrew. Definitely, this is a changing world.  You know, it just gives us a deeper hunger for connection and working in a physical space together. I think there's a, you know, that is functional for us to bring out our emotions onto a screen, onto the stage. But working with a 2D screen, we really had to just be patient with each other, you know, and also being able to establish a connection with the other characters. I'd like to add to that, Andrew. It was a huge challenge for me as an actor, because similarly, you know, this is a piece that requires connection. And with a screen that becomes an interesting challenge on stage or in film, you can make eye contact with your scene partner. But in Zoom, I'm trying to look at someone's face, but also I need to look at the camera, but I don't want to look at the camera. So that's an interesting challenge. But we're a great team. We're supportive, we push each other, and we made it through this, especially with everything that's happening in the world with coronavirus, Black Lives Matter, everything that's going on. Thank you, Dickey. Malini, what was challenging for you? And I noticed you had to play the role of a hearing person. Was that challenging for you? Yes, it was. Definitely. 100% being, you know, a deaf person and then switching to a hearing character was, woof. You know, I have a little bit of training in speech therapy. And so, you know, I really tried to focus on not overdoing it, but just kind of letting my mouth follow the words. That was a challenge for me. Thank you for the patience to work with me. And I had to, you know, I had some pretty heavy texts, some long monologues.  I don't know if that would be, you know, if that's ever possible, but I mean, you know, I don't know what that would be like. So that's what I tried to embody. But the acting pushed you into the unknown. Isn't that correct? Absolutely. Yes, it did. Well, you did wonderfully. Thank you. And Jackie, what about you? What was the most challenging for you? Really, the technological aspect for me, I'm not tech savvy. I'm not what you would call tech savvy at all. So figuring out lighting, figuring out Zoom, and it's all new for me. I'm used to having everything set up for me and now having to do it myself, it's a challenge. And I'm all constantly checking, what am I supposed to do? Amelia, you have to be my eyes. Oh, wait, I have to put my eyes over here. Oh, thank you so much, Amelia, for keeping me on top of that. The whole thing was a new experience. And it was a very positive thing to experience. But of course, nothing can fill the space and make connection like working with a team, a great team like this. So we're all on the same page and I can't wait to we're all in the same space too. It's really nice because previously we had discussed, I think it was a night or two ago, how everyone has been spread out and it's rare to be able to assemble a team like this. And so we were able to bring everyone together. That was one positive, is pulling together this excellent team, skilled professionals from all over, which was just really excellent. This is a great example of that, of that opportunity. Joey, what was challenging for you? Really adapting to this new format in a Zoom workshop as opposed to a stage reading. I'm not used to, I'm used to rehearsing and rehearsing and then giving a performance, but I'm not accustomed to rehearsing and then the day of two hours later, I finally understood the concept and now I'm performing that piece. So it takes a different kind of energy and a different kind of mentality to be able to accomplish that. And so with real live theater, you have the luxury of time to develop a character and learn the nuances. And in this piece, it was really sort of a verb of the moment, go do it. And Zoom fatigue, which all of us can relate to, you have to pay attention because you never know, you'd take your eyes off the screen for one moment and everyone is waving, trying to get my attention. So it's nonstop, deaf folks look away for one second and all of a sudden the whole screen's waving back at you. So that was another challenging part of this rehearsal process. So a challenge, not just for the rehearsal process, but a challenge to be deaf in a visual world, period. So. Zoom is not deaf friendly. No, Zoom is absolutely not deaf friendly. Some ways, yes, some ways, no. So Nikola, and I'm not sure if I'm saying your name right, I believe you have your hand raised. Would you like to join us and make a comment or ask a question? And they disappeared. Where'd you go? Sam has their hand raised. Would you like to come and join us? And it does take a few seconds to bring the person into the room with us. I see her. Ta-da, ta-da. Is she, is she? I don't know. I don't know. That's another problem of deaf folks on Zoom, trying to get everyone's attention. Right. Here we are finally. Oh my goodness. Hello. So just wanted to make a few comments. First of all, congratulations on a fantastic, amazing show. Monique, your production, your writing was excellent. Amelia, your editing, I was so entirely impressed. It was so awesome. I do have a question. So moving forward. Oh, so I'm sorry. The audience, who was your intended audience? I'll go, Monique. So really I wrote this for people who don't know much about the deaf culture and ASL. Really I wanted to emphasize how you can access this depending on how we set things up. We talked about accessing archives, the DS or the library, the digital library for ASL. And I wanted to fix a lot of the things but your feedback is very much welcome to help us with that process. I think a general comment would be the transitions and the editing. It was very nice. However, it was very nice. Oh, with the actors coming up between each scenes, the blending, them appearing and then disappearing. So leading from one scene to the next. So I thought that was a really cool transition. The choreography, the pictures, the visuals. Graphics. The graphics were really nice. The handshapes, the handshaped features that were shown. It was clear, it was all clear for me. So all the cultural information because I am an interpreter. So I thought that that was very clear. It was relevant for me and I understood it as an interpreter. In terms of handshapes and linguistics, a lot of those features that were discussed in the play. Dickie's oral presentation, his piece, that was really lovely. So I just think overall it was just amazing. Did you see the A? Finally, I can graduate. Yeah, it was just amazing. I loved it. You got a name, Dickie. Congratulations. Thank you so much, Sam. Thank you. Now Monique, you said that you did write this play for hearing people who don't know deaf culture. Is that correct? Yes. So I believe that the show has no voicing. Isn't that correct? That's correct. Was that your intended choice? Yes, it was. Remember that every time there's a deaf production with an interpreter, something doesn't quite, it's not quite the same. You know, when you're in a room and everyone's having to pay attention, that's not the same in English. Yeah, it's not quite the same experience. And so what I wanted to do was to be able to experiment what it would be like to try to give the hearing audience the exact same experience that deaf people are getting. And people are saying that they might be missing some things here and there. We're still experimenting with that and why that is. But we're gonna keep going with the flow and see what happens. It's a big challenge in terms of deaf theater and in terms of creating accessibility and creating accessibility for a non-ASL using audience and showing them art. And that's a big challenge. And we are still researching, developing, we're still struggling, we're still experimenting, we're still finding different things. And this very thing is proof, so thank you for that. So I'm wondering if, oh, if anyone in the audience who's listening or watching right now, if you are a hearing member of the audience and maybe your ASL skills are not so much there or you don't have any American Sign Language skills, if this applies to you, if you wouldn't mind raising your hand and letting us know what your experience was like in watching this show. And that's okay if there's no one there or maybe everyone here is proficient in sign language which is very cool. So this is an actual signing zone then. So that's wonderful. So, and someone has raised, Marla has raised their hand. So if you wouldn't mind joining us. Michael. Oh, Michael. Michael. So if you are hearing and you prefer to speak, you don't know sign language. We do have three sign language interpreters here. So hello. Hello. Hello friends. Some of you I know, some of you I do not know. So Joey had mentioned the Zoom fatigue. So I'm not sure in terms of editing and what Amelia was doing with the editing and how the picture was moved around and how the editing was done with, I mean, it looked very smooth and it was absolutely fascinating. I don't, I just was completely fascinated by it. I see it. The academic areas of the play were all fantastic. I just thought it was really well done. I really applaud you all. Monique, I really applaud you as the director. I just thought, wow, you know, to be able to go in this direction, to move in this direction for theater while COVID-19 was happening, while theaters were closed and you were able to produce this, it was just incredible. You were all fantastic and you connected with each other and how you moved with each other and how the panels moved, the windows moved and in synchronicity with each other during the play and I just, it was just incredible. Seamless. It looked like you moved in the right ways when you were interacting with each other in the different scenes. So I just really enjoyed it. I think the editing was just really well done. So I just, I loved it so much. Yay, thank you. Thank you. Thank you, Michael. Okay, I'm supposed to disappear now, right? Wonderful. Ooh. All right. Beth had typed in the chat box. I'm assuming Beth is a hearing person. And she said, at times I felt like I was watching a silent film even in 100% deaf production, they still is sound. So it's hard to get used to for a hearing audience. And yes, I'm hearing and no ASL skills. So completely silent production was hard to get used to for a hearing audience member. Interesting. Yeah, that's very interesting. Okay. Oh, there is a question in the Q and A box. Okay, a big one. All right, here it is. A big chunk that I'm gonna sign. This is from Marla, Bronstein. I have a few linguistic questions. Did I misunderstand that F and yellow are signed the same somewhere? So F and yellow. And then what does skid mark mean for ASL? So let me hold on that. So Monique, would you like to go ahead and answer that? Sure. So yellow is the color, but F, it wasn't yellow. It was F and the number nine that people can get confused because it's the same handshake. Same goes for the number two and three. They also resemble the letters V and W. So it's kind of similar. They just use color coding to indicate which two meanings have the same handshake. And so, you know, that was something that we came up with quickly. On stage, it would be differently. It would look different because Jean Yeh would use some animation to be able to highlight those things in another visual way. For skid mark, I'm not sure I recall what that was from. Was that a non-manual marker, non-manual signal and NMS? Is that what it was? Okay, this is Garrett. I think I remember seeing that in the show, but I don't remember where or why that came up. Okay. Well, well, please don't remind us and we'll have to rewrite that part. So all of the linguistic questions, I would say maybe one-third of it is factual and then part of it is the rest is kind of fictional, okay, that I made up. Okay, and she also said, just to let you know as an FYI, Mary and Mary are not homonyms. If you're not from, if you are from New York.  No, it's a joke because of the accent and where people are from, they're different communities. So in general, you know, people who don't have that accent, it is. Okay, wonderful. And then there was some confusion about the comparison of pale as in the color pale. And then pale, the stick, to stick. Yeah, the pale, like to pale like the verb, like to stick something in. To impale. Impale, okay, to impale. Impale, similar to pale, the color. Okay, great. The sacrifice made her cry. And poetry was incredible. And finally, if you wouldn't mind Monique or someone else, if you could explain the creation of the sign for trauma. Maybe I'll just throw in something out here. So trauma typically has been signed this way, like a mark above the head, but there's also been a trauma along the heart because it also indicates this emotional trauma. So I don't know if that's something that's necessarily created and made up, but maybe anyone wants to chime in. I agree with Monique that it's similar to the scar, like the sign for scar is that same action depending on where on the body. So trauma is a scar of the mind. So trauma can be signed across the mind like that. I would assume it has, that's where the origin is from. I'm not a hundred percent sure. That would actually make sense. That would make sense. So thank you for that. And to wrap up, Mary said that this was just really wonderful and thank you to all for all of your hard work. And she is fangirling all over you. That's what she said. And she says there is no way that she herself is going to get on camera. Uh-uh. Why not? She's a little afraid, but she is just fangirling all over all of you. So wonderful. Thank you so much. And Monique. It's okay. I really appreciate your comments that really helps us start to, you know, use that to take it in the next direction as we move on with this because we want to get feedback to make this more accessible to everyone. So that's the goal. And I thank you. Okay. So now we're going to jump. Okay.  Okay. So that was my mistakes and no worries at all. And that is just fine. And now, and then she's saying, I adore you in all caps. And thank you so much. And thank you, Marla. Sorry, not Mary Marla. Okay. Leara, Leara. I'm sorry if I'm not pronouncing your name right. Leara.  I believe it was called the creation scene. I. Now, if you're, was it called the creation? Creation scene. Was there a choosing? The with the winning. Oh, I think it was. Oh, in the beginning, in the poem, in the beginning, it was just beautiful. I think that's what she was talking about. So it's a goal. And she's saying, yes, that is the one. Sorry, I forgot what the name was. So however, now the question. If the goal for this production is eventually to come on stage, would you prefer to have that scene altered to fit the actors to in-person? Or keep the video element or leave that decision to the director? That's a good question. Well, when I wrote the play, IRT asked me who would be directing this. And in my mind, I already had the vision of what I wanted it to look like. So could I really give that to another director and have to kind of explain my vision or should I just direct it? I think I sort of feel like it's my baby and it's still in its infancy, not really ready to confidently give that away yet. We're still kind of working out a lot of the concepts. No offense to anyone else, but I think understanding my goal and what I really want and what I want people to take away from that, I think is something that I'm still working out. So I'm wondering eventually when this production takes off to Broadway or what have you, do you already have something in mind that you would like to direct this or you don't know yet? I want the director to be someone deaf, period. Amen, mic drop. Yeah, and the actors to be deaf as well. Otherwise it's not gonna be understandable to them and to the other people. If they have to be able to embody that in order to convey it. So, yep. Yes. So I just wanna remind folks in the audience, if you would like to join, we would love to hear from you. So please do raise your hand and join us in the Zoom room. Yes. And we do have Annie who's raised her hand, so please come join us. Annie, what are you smelling? I love it. So I have three questions here. The first one is from Monique. So let me back up here. Oh, I'm just still mulling over the production. I'm gonna have to watch it again and again and just continue processing this and kudos to all of you for all your amazing work. So the linguistics aspect of the play, there is a strong linguistic elements to it. So you'd say you made up about, oh, one third is factual and two thirds that you just were fictional that you made up. Why did you decide on those percentages of what you made up and what you decided to have factual? Well, I wanted it to just feel like the student was in the research process. And not that we had already done that research already, but I wanted to show the comparison between the hearing languages in English and how there is that research already done. And yet for deaf and ASL, we're still in that process. So I know that the structures are different between the languages, even the modality between an auditory language and a 3D sign language. There are a lot of different distinctions there. The vocabulary, the labels and the names and the depth of the linguistic meaning behind things. We're just starting to scratch the surface when it comes to ASL. This is a very new research process. So I just started playing around with some of the ideas and kind of put in some made up concepts as food for thought just to start thinking about it. So there's a follow up to that response. So the dramaturge, how did that person help you with your process in terms of building up on this onion linguistics structure? Well, so first, when I, I'm going to leave the dramaturge. When I brought this to her, thank you. To them, we met up, we shared each other's, we share the same training backgrounds and kind of this resistance to having hearing people be in it. Peruna is hearing, so I had a resistance. Ah, sorry, thank you. And so I didn't want anything to be lost, but we got together and I wanted to get her perspective as a hearing person incorporated into it. So I thought that was interesting and I was open to that. And so we started kind of sharing ideas and that's what created sort of this pathway that ended up shaping it what it is. We both learned from each other and I wanted her to be able to learn what I was trying to convey as well. So that's how she played a part. Would you consider having an ASL linguist involved in your next workshop? Big time, oh yes. I've already been thinking about that. I knew that. I knew that it was a time frame. Had a tight time frame. Yeah, so we were able to finish some of those portions and we're also already thinking of act two and haven't written it yet, but we're looking to incorporate those linguistic information into that and then being able to work with the linguist to do that and the dramaturg as a part of the team. So hopefully we'll meet your expectations. For the actors, for the notes that she would send you in explaining, explaining the meaning and the absurdist aspects of the play, you can definitely see the emotions and the range of emotions from the tech person and going back and forth between the two emotions. So I'm sorry, I'm just the interpreter. What was the, you're having a hard time. I'm struggling. The question was going between the emotions of absurdism and your emotions. We lost some people. We lost Garrett. Okay, so I apologize, Annie. I missed the tail end of your question. But I think if they wanna go ahead and answer, I think the actors got it, if they wanna go ahead and answer. Did somebody wanna, yeah, I don't know. And Jackie's saying I could answer. Yeah, Jackie, Jackie wants to, I mean, I think for all of us, we kind of just went with it. We went with the plan. It's not all figured out yet. I have four different characters that I was playing. So it was more, not totally, all of that was not all totally in depth. It was just an opportunity to, I think for, you know, kind of MoMo is directing us to try a lot of different things. So it was a lot of just kind of going with the flow. A lot of very experimental. Okay, I'm going back. We're coming back. So I guess that would be my response to that. Okay, you're saying, I'm sorry, it looks like all three of us crashed at the same time. And Monique's asking, did you get your question answered, Annie? Did you, are you satisfied with the response? And I think Andrew wanted to respond to your question. Yeah, there are two different things. There was the unknown, unknown, unknown. Sarah, do you want me to take this? Yeah, go ahead. So with getting the script, we had the ASL Gloss. We had a lot of the specific linguistic aspects of the play that were confusing to me. So we had to be able to go back and forth between both languages, the English Gloss, as well as ASL. And for Monique, she had to show us what those transitions would look like, going back and forth between the English Gloss and the American Sign Language and being able to show that to us visually was what we needed to work with. Got it. This screen is a little gritty to me on mine. I think there was another, somebody else wanted to answer the question, Dickey. Yeah, so in terms of what Jackie said, it's really like learning a new skill as an actor with the ability to really get into and pick up these skills with a short timeframe. I'm really grateful to this experience. And now I do have that tool in my toolbox. And the willingness for us all to dive in and roll with it and let the process guide us. It was sort of a refreshing and interesting way.  There's so many different ways to experiment in that manner. And we felt that we were limited, but it really forced us to get more creative. And that was a really nice experience and challenge for me. So there's a follow-up question. How much time did you rehearse and did you film as you were going along? Yes, Amelia, do you wanna answer that? Sure. We did not film in order, no. Because we followed actors' availability for the filming and that was also a challenge. How do we get everyone in one Zoom call at the same time? We rehearsed, I'd say, for two weeks, less than two weeks. But we would rehearse each scene got about two hours worth of rehearsal. We didn't repeat and run it back and again and again because we knew we needed time for editing. So, you know, I knew I wouldn't have time to finish the film if we didn't film quickly. Malini, yes, what Amelia was saying, I think we worked for about a week to a week and a half. And then we had to layer on everyone's films together in one in such a short amount of time. So the rehearsal was, I don't know, maybe 20 minutes at a time. And then it was like, okay, let's do it and go. Kind of freezing up, but. So it was more like that. Just these short moments of filming and rehearsing and then putting it all together. And then of course, we got the script and we had to read through it. And then I noticed the ASL linguistics portion and it was very fascinating.  I really enjoyed the process and especially playing the character of a hearing person. I really liked, I enjoyed the linguistics class. Those were things that I liked learning about. I understood that portion. And for audiences to also get access to that too of things that maybe a lot of people don't know. I think it was a challenge to think of how we would perform that. Sorry, the last part was a little, it's freezing up, but. She was talking about deaf perspectives versus hearing perspectives. Got it. Yeah. Okay, got it, thank you. Got it. And then Monique. So Monique for me, I think when I was writing the play I wanted the actors to be learning something new as well. So often there's an education portion to it but we wanted both the actors and the audiences to be able to learn. And so a lot of times, I think being able to educate about ASL audiences will assume that ASL is so just beautiful, this beautiful thing. And that's kind of the depth of the feedback that we get. And I loved it so much because it was so beautiful but really to unpack and elevate the education behind the perspective of ASL, that it's layering that with the drama of it and the animation layer too. I mean, that helped so much with being able to convey what we wanted to say. And that also showed the interaction between the actors that we didn't get to do as much on a stage and incorporating the absurdism into it as well, that helped. Oh, Malini has her hand up. Yeah, and freezing up, slow down.  Can you slow down, please? Yeah, oh. So she said that sort of like how hearing people have lyrics and in their songs and this beautiful music, it was sort of kind of a parallel for us to be able to do that in ASL that we could show that we can do something similar. Right, yes. Legend, here's my last question. The scene with the concept of understand and the figure that comes out, was that interpreter or what was that, was it a magic genie interpreter that popped out of the finger or I'm not really sure? I wasn't sure really how to take that, this person climbing out of this index finger. And yeah, I wasn't sure, what was your, what were you envisioning with that? Joey, do you wanna explain that? I can try, sure. The spirit of absurdism, cat hair on my hands. So we have, you got the idea right, sort of a genie in a bottle, or in my case, understand in a wine bottle. Drink up. But the understand character, is there to serve as an invisible accessibility provider, just invisible understanding between two groups that can't communicate a hearing and a deaf person. It's silly, it's definitely absurd, it's funny. We're keeping with the spirit of that theater tradition. I think, I really, this point is serious. I think that in our life experience, many of us have felt frustrated, that people don't understand what we're trying to say, it's not clear. And I'm saying, this is what I am saying and you do not understand me. Therefore, the interpreter must not understand me. And I do just feel a loss of agency. And I wish that I could just make my information penetrate straight through to your brain. It's a struggle, trying to figure out a way to make sure that that other person will understand me through all of this confusion and it's ridiculous. So, it's a wish, it's on my wish list. If only, dot, dot, dot. I would like to have that Jeannie in a wine bottle. Really, that's my bottle, that's mine. And on a serious note, in that part of the process, we're looking for more of that. We want to incorporate more of those kinds of things to figure out what things we can let go of and what things we can incorporate more of. I really, I mean, right now we can add any of your ideas to see how it will, as we do the rewrite. And so I'll definitely keep that in mind. I really appreciated what Jackie was saying. Yeah, I would love that wine bottle. I would love that Jeannie in a wine bottle because I think all deaf people just want, you know, everyone to be able to understand it and not even think about it. So thank you so much, everyone. Thank you. Thank you. Thank you. So we could talk all night long, night after night. So we did limit this Q&A to just an hour. And I think there was just one more comment. Joanne D. Joanne D. Joanne D. Great job and a great job. And she is looking forward to seeing the full production and the animation, the research, how it all blended together. It was a completely immersive experience for the hearing audience. So thank you so much, Joanne. Thank you. And Monique, do you have anything that you would like to add before we wrap up for the evening? Again, if you didn't have an opportunity to ask your question or something might come up later for you, you can go ahead and email Kori at IRT and she will forward me all of your comments. I really do wanna understand what you got, your feedback. It's really gonna help me with the rewrite. So thank you. And we really hope that you enjoy the show as well as the panel. And I wanna thank everyone who joined us this evening of the audience and the panelists as well and the interpreters. And thank you so much to you all. Thank you. And hope you all have a wonderful evening.


In this video, I want to show you how to compute the derivative of the function f of x equals four over x and we're going to compute this by the definition. So it's important to remember what is the derivative. The derivative is the limit of the difference quotient. So take the limit as h goes to zero of f of x plus h minus f of x all over h. So we want to compute this for which we can't just plug in h equals zero because we'll end up with zero over zero which is indeterminate form. So we're going to have to try to simplify the difference quotient algebraically. So in the context of our function four over x, if we look at the expression f of x plus h, that means we place the x in the denominator of f of x with an x plus h, like so. Then we have to subtract from it f of x which is just four over x and then we have an h right here. So this is an example of a nested fraction. We have a fraction with little fractions inside of it. In order to clean this thing up a little bit, I want you to identify the denominators of the little baby fractions. Oh, they're so adorable. We're going to look for the least common multiple of all of their denominators, the least common denominator of these babies, in which case this is going to be x times x plus h. Don't bother multiplying that out. It'll be more advantageous to keep it factored. So in order to keep the fraction proportional, we need to multiply the top of the mother fraction and the denominator also by this x times x plus h. In the numerator, we're going to distribute it for which we're going to then get the limit. We're going to get four times x times x plus h. This sits above x plus h. Then for the second one, we're going to get four times x times x plus h over, well, x, just the x right there, sorry. And then the main denominator, you're going to get h times x times x plus h. When it comes to fractions, do not multiply out the denominator. Keep it factored. There's not going to be any benefit of distributing h to the x in this context. So leave it factored. Well, because we multiply the mother fraction by the least common denominator of the baby fractions, you'll notice that the x plus h cancels with the first one, so it's no longer a fraction. And then the x cancels with the second one, so it's no longer a fraction. So this difference quotient simplifies to be 4x minus 4 times x plus h all over h times x times x plus h. Again, keep denominators factored. Never multiply out a numerator.  On the other hand, numerators, please do multiply them out. Distribute that negative 4. Make sure the negative sign is carried with you there. You're going to get 4x minus 4x minus 4h over hx x plus h as h goes to zero. You're going to notice that the 4x will now cancel out. You're left with just a negative 4h in the numerator. You still have hx x times h as we take the limit as h is going to zero. So because of all the work we've done in the numerator, you're now going to notice that the numerator is just negative 4 times h. The factor of h in the numerator cancels with the factor of h in the denominator. In which case, then we get the limit of negative 4 over x times x plus h as h goes to zero. So although there's still an h in the denominator, do notice that if we send h equal to zero, if we send h equal to zero, we're not going to divide by zero anymore. We're going to get negative 4 over x times x plus zero. The denominator is actually going to become just an x squared. And this is then the derivative of our original function 4 over x.


T. F. N. N. Headline news update. Good afternoon, folks. Steve Rhodes coming to you live in the shores of very sunny and pleasant. Delray Beach, Florida with your 2 p.m. update. Currently we have a bit of a mixed bag out here. You've got the Dow up 91 points. The S&P just turned slightly positive, and the Dow transports are trading up 87 points. The Nasdaq is off 109. That's seven tenths percent. Russell's down 20. That's 1%. The semi is off one and three tenths percent or 45 points. You've got gold trading out of 1936-60. That's up 14 bucks. Silver has turned just slightly positive, up seven cents. She's trading at 25-26. White sweet crude back 92 cents. 109.68 is the print there in the 30-year treasury. Trading out 156.20. That is four ticks to the upside. So let's go take a look at our indice charts. I don't think we've done this for a few days out here. So let's get to those and see what kind of signal information they are providing you and I. And we begin by taking a look at the Dow Jones in the upper left-hand panel. What we can see here is a nice TD9 count bottom. We see a nice Roadsmen Dominicator bottom, and right now price is above its red oscillator and change line. This could be day number two above that level. That level, by the way, is 33-325. I take that back. That level is 33-774. If price closes above that today, the signal is its intention to try to make a move to 35-431, the TD9 breakdown level. In the case of the S&P 500, it is also above its oscillator and change line. A close today above 43-34 suggests a ride up to 45-26. At least that's what it would like to do. The Nasdaq 100 has been above its red oscillator and change line for the last five trading sessions, signaling that it would really like to get to 14-760, but it's got some issues that it's dealing with, not that it can't resolve those. And in the Russell 2000, it has also been above its red oscillator and change line. Its real target right now is the bearish evening star candle up at the 2085 level. Price can get above that. Then you'd be looking at 2210. Now the socks, which are pulling back the strongest today, or at least as we speak right now, they're back at 1.25%. It's been nothing more than a test, and right now rejection of that oscillator and change line, and therefore price here wants to continue higher. The transports are now breaking above their TD9 breakdown level, 15-420. So that's a bullish move, and that suggests that it too wants higher price. Now the higher price may only be out here to the bearish resistance level of 15-767. That's what's going on. We take a look at the indices. Folks, stay tuned. You've got your favorite polar bear, David White. He's up next. Tom and Brian, they'll take us on home from 3-4, and I'll be back with you tomorrow at 1 o'clock sharp. Have a terrific Thursday. Be safe out there. Look forward to seeing you again soon.