Good evening, everyone. I hope people can hear us and welcome everybody to this event. I'm Christopher Kramer, I'm the Professor of the Political Economy of Development at SOAS, and I'm here to welcome you all to the fourth event in this SOAS, University of London series called Continuing the Conversation, and SOAS will be hosting more virtual events in the upcoming months. This event, like others, will be recorded, and I'm advised to ask you, if you're so minded to discuss this on social media, please put you use the following hashtags, which I think are spelled out in the chat function on the sidebar. Hashtag SOAS, hashtag SOAS alumni, and hashtag we are SOAS. So today's event will be Dr. Gus Casely Hayford, OBE, in conversation with me, discussing the slightly daunting topic we were given of art, history, Africa, and the world. So Gus and I will have a discussion, we'll chat for maybe 15-20 minutes, and then we will open up for a Q&A, and we'd like you, if you've got questions, please to write them in the chat box to the right, and then we'll try and gather in as many of those as we can. So it gives me enormous pleasure to welcome Dr. Gus Casely Hayford to this event and back to SOAS. Gus, for those of you who might not know enough, is an art and cultural historian who writes, lectures, curates, and broadcasts widely, and particularly on African culture and history. He's perhaps especially well known for his major BBC TV series, The Lost Kingdoms of Africa, if you haven't seen it, find that it's fantastic. These were series that used new archaeological and anthropological research to explore the pre-colonial history of some of Africa's most important kingdoms. Among many other things that we might mention, Gus is a former Executive Director of Arts Strategy for the Arts Council England. He's a former Director of the Institute of International Visual Art, and he's advised the United Nations and the Canadian, Dutch and Norwegian Arts Councils, as well as the Tate Gallery. He initiated and became the Director of Africa 05, which was the largest African arts season ever hosted in the UK, when more than 150 venues collaborated to host more than 1,000 events nationwide. Gus is, Dr. Casely Hayford is now leading the development of a really exciting one of the biggest cultural projects that's been undertaken by a national museum in the UK in recent years, and we'll find out a little bit more about that in a minute. That's the V&A East project, and he has recently returned from being the Director of the National Gallery of African Art at the Smithsonian in Washington. Gus, it's fantastic to welcome you back to SOAS, even if virtually, and to the UK. I think the last time we actually saw each other in person was in the staff common room at SOAS when you were on a short work flight trip back from Washington, and both of those things are kind of strange things to think of, or say now it's a different world, short flights and work trips across the ocean hanging out in the staff common room, and I think that different world is something that we'll probably come to, the implications of that for the world we live in and the work that we in particular are doing, but maybe I could begin with some of the basics, Gus, and I'll ask you because I think I and many of us will want to know a little bit more. If you could tell us a little bit about V&A East, about the origins of this idea, about what stage it's at, and when it's open, it's being built within eye shot and ear shot of where I'm sitting now, but tell us more about V&A East. I love my role at the Smithsonian and when I got a call from the senior team at the V&A, it was probably the only offer I think that would have pulled me away from my role at the National Museum of African Art, because it was to do something which is both daunting and exciting in equal measure, it's to help to deliver a new museum and collection centre in the east of London, and it's an area which was traditionally fairly kind of deprived in the 1850s at the time of the Great Exhibition, which was the forerunner of the V&A, that one of the Great Punch journalists, Henry Mayhew, that he travels in the east of London and he describes it as an area which is utterly rundown, but he also describes it as an area which is absolutely kind of driven by makers, that he finds it this place in which there are all kinds of weavers and carpenters, and it's this engine of creativity which is fueling this transformation of Britain, and it's at this moment in which Britain, London is engaging in this reflection of its place in the world through creative process, and the Great Exhibition becomes a kind of moment in which Britain establishes a new relationship to the world through creativity, and the V&A is one of the results of that, and it's an institution which I've always loved, but this was a chance to create a new iteration of the V&A, but to do it in this bit of London which has been so traditionally neglected, and yet which has produced some of the great creative forces in British cultural history, and I just thought what a fantastic proposition, a chance to build an institution that would house 250,000 objects from the V&A collection, 900 archives in a vast collection centre which is the size of a football field, I stood in it just last week and it is utterly awe-inspiring, it is one of those buildings like when you go into the Great Court of the British Museum that just takes your breath away, and then about 10 minutes walk away a new museum which will be on four floors within which we will be able to animate those works from the collection, as well as other works, new works, as well as commissioning works, my artists, and doing it in this bit of London that has been so traditionally neglected, it was just an offer that I couldn't turn down, so I'm so excited, daunted by the prospect, but so excited. That's fantastic Gus, when's it due to be open to the rest of us, you've been given sneak previews of the building site and so on, but when do we all get to be able to go along? So 2024 will be the date at which the collection centre is due to open, and that is this vast building within which we will house a large proportion of the V&A collection, but it will be unlike any other collection centre in which it will be accessible to anyone, and it's an amazing design that it feels like one has somehow peeled open a collection centre, glass floors, glass walls in a large area of the actual central space, so you can stand in the centre of the building and you can look up and you can look down and you can see this amazing collection quarter of a million objects in a single space, and then a year later in 2025 this amazing new museum designed by McCollum Toomey, which is based on a Valenciaga dress, incredibly beautiful as well, and it's in a constellation of new buildings alongside a new space for the BBC orchestras, Sadler's Wells, a new building which will also be there, a new theatre, and London College of Fashion, a new site for them, and also not too far away a new university college, so a new UCL, so this new suite of institutions all celebrating creativity in different ways, but also at this moment in which post-Brexit, post-Crow vid as we begin to define a new place for Britain in the world, a new space in which creativity is going to have to find ways of bridging the gap between communities, whether that be across oceans or whether that be just locally, because what COVID has done, what Brexit has done is to change geography, and I think that we need institutions that are capable of bridging some of those boundaries. So if we just take the local bit of that, will the new collection and the museum, apart from the historical link, it's really interesting that you were talking about Mayhew and the Great Exhibition and the beginnings of the DNA, will the link refer directly to that and build on it, will it be a major source of local employment, will the collection and the museum reflect that particular East London history and culture in particular ways or not so much? Well, I'm hoping that the disciplines that are explored in the V&A collection are some of the sorts of disciplines that you see reflected in local industry, this is an area which has given birth to large numbers of fashion designers, of architects, of ceramicists, and I am hoping that this space will become a sort of creative repository in which people can dip in and they can use it as a crucible of ideas, but I'm also hoping that for the young, for people who aren't formally engaged in creative education that they're not kind of an art college and they're not professionally kind of engaged in the arts, that for them it might be just an opportunity to see what some of the finest practice across time and across geography is actually like to be in the presence of, and I would hope that that generation who are doing amazing things in so many areas, particularly in helping us to think about how we're going to navigate the digital, that they will be there to help us to think and to consider what new avenues and opportunities for creative practice in these disciplines might actually be, ways in which we can actually make the world feel smaller in this time in which they feel like there are increasing boundaries and barriers to travel and I would really love to engage those communities in helping us to explore our collections and to give them the tools to actually redefine some of these disciplines themselves. I think that is enormously exciting. One thinks that one of the sorts of people who benefited from a local education here in New York, Alexander McQueen, someone who completely took apart the constituent parts of fashion and put them back together in ways that made sense to him and so transformed the whole discipline and I think that there are so many other people who, given the tools, could help us to reconsider so many areas of creative practice and we want to give this younger generation the tools and to do it in a part of London which is incredibly culturally diverse. All of the surrounding boroughs are ethnic majority boroughs. Some of them are deeply under-invested in poor infrastructure and we want to be there to support young people in realising their dreams and doing it in ways that actually work for them. That's fantastic Gus and you mentioned Alexander McQueen and of course there was that brilliant celebration of his work by the VNA a few years ago which is a really astonishing exhibition but you, the other thing that you've been talking about which is so interesting is the role of something like the VNA in a process of Britain trying to know to understand to find its place in the world and there are a couple of things I think interesting about that. I mean one is more generally, you know, everything about who we think we are as communities, as groups of people, as countries, the stories we tell ourselves about who we are, the relationships of power within the country and globally. All of these are bound up with issues of memory of what we remember and how we remember it and also what we forget and how we remember it and who chooses that. And it seems to me there's a very particular moment right now, very obviously around BLM and the States and here and so on but there's a sort of opportunity to reshuffle those questions and I wonder what you think about the broader role of galleries, museums and particularly the VNA in contributing to that very important process. The VNA comes out of a particular tradition of museums, you know, that we are enlightenment institutions that we know it's difficult but we have written into our histories, you know, periods in which we were engaged in either tangentially or directly in supporting colonial regimes in actually supporting the hierarchies and the categorizations of peoples and cultures in ways which now feel very uncomfortable and what we have an opportunity of doing today is particularly through our collections is in interrogating some of that and actually doing it in ways which actually empower people who feel particularly genetically connected to the works which are in our collections and helping them to build much more complex and robust interfaces with our collections that are personal sometimes but I think underwritten by a kind of of intellectual integrity which I think can sometimes feel quite distant in museums, you know, that museums they shouldn't just be there to I don't know but very often in museums it can feel like you are there just to learn lessons and I think very often that the people who visit institutions that they have as much if not more to impart about the experience about particular objects as anyone else and I just feel that what I would love to do is to create an environment in which we can use digital tools to actually create environments around objects and collections in which we can all engage of course we have to respect a curatorial authority but around that I would love it if objects become spaces for wider discourse and interactivity that can be personal which may be you know deeply subjective but which will allow us to to realize the kind of contingent nature of what we do but to both speak the poetry of curation but also to underpin it with a kind of meaning that I think sometimes can be lacking and so I would love it if this feels like a partnership with the public in which we are rediscovering these collections, rediscovering and rethinking our connection to this problematic and difficult history, it's not about us actually resolving things in ways that will feel safe, sanitized and comfortable, it's about us actually using our collections to ask some difficult questions and for us to in some way navigate some of this space in ways that may be cathartic to some and for others may actually raise important questions and I think museums shouldn't just be repositories of nice things in which one goes and one reflects and one comes away kind of unchanged, I think occasionally museums need to be spaces in which really robust questions are asked and some of those questions need to be asked and answered by the public themselves in their own way using the spaces that the museums facilitate so that we become crucibles for change, crucibles of catharsis. I'm sorry I think we've lost Chris so please do submit your questions and I will self-moderate. So Chilly Horse has asked what will the opening exhibition be? At the moment we are what four years away from opening and so we aren't in a position to actually say I have some ideas but if you imagine that V&A South Ken that they have had this incredible heritage, this amazing history of Fiorre and McQueen and we want to be able to deliver a level of exhibition that rivals those in kind of name recognition but which does so in an area which will speak to some new audiences that really will speak to some of the local people but also to so many people who wouldn't feel a museum visit to be the natural thing that they would want to do so I'm really excited about developing that program and I at some point hopefully next year will be able to begin to speak publicly about that program. So this is from Sandra Wilson the V&A has very few African artifacts in its collection. How do you hope to address that deficit which is a really good question but one of the things I found because I began my career at the British Museum and we would often look with at the V&A collection I can remember looking at their Ginkers they have you know and thinking wow you know it would be great if we were to acquire you know that Victorian Dandy series when the V&A were acquiring it and so even though traditionally there hasn't been an Africa curator hidden away in a number of different departments there are significant numbers of really really wonderful things around which one can build a really good Africa collection. In the 1950s something called the circulation department was developed at the V&A which was a department which was designed to take the collection out beyond the actual South Ken area and actually take it to the people who were paying for the the institution and it went out across Britain to all the regions and was incredibly popular and the people who conceived and actually ran the circulation department they actually drove an acquisition policy which was about widening the brief and they bought quite a lot of African works and they are now the basis of a very good collection but I want over the course of my tenure to build upon that and we have coming up an African fashion exhibition which I'm really looking forward to but also that we are looking at some major acquisitions and loans which I think will begin to reshape the way in which we see we see the V&A and so yeah a foreign answer I'm guessing a fellow Ghanaian how do we address the concerns issues of artifacts taken in the past and request to have them return to their home countries in Africa and I think that this is another key question and it's something which our director Tristram Hunt has actually taken the lead on in building those relationships and beginning to find the ways of answering some of these really substantive questions and I'm really fortunate when I began my career these are questions which one asked in kind of lower tones because it you know there wasn't really the spaces in which one could engage in these conversations openly and I think but today today Hartwig Fischer Tristram Hunt the directors of all of the major major collections that they that that have large repositories of objects from Africa clone that they are all working in different ways to think about how we create greater equity greater sharing in this particular area and I think that we will live through a time in which this is less of an issue in which both on the continent that there is a new generation of national museums that are are are co-creating exhibitions in which we're sharing expertise and in which that critical thing of in which we are loaning objects and we are building a collection which does not feel like it needs to have the stamp of any single institution on it that is truly you know a global which I think is very much something that we would all love to see and now and I'm sorry I can't get to all of the questions because I'm trying to self moderate and I have never used this system before so I'm just going down as I see them Miles Wichsted, Higus big question to what extent do you think culture and an understanding of heritage can contribute towards the sustainable development goals and in particular the promotional the promotion of peaceful and inclusive societies that's a great question and when I look at the that generation of founders of institutions oh Chris you're back I'm I'm sort of back I think Sirius needs to buy me a new computer and I can't but I can't see I can't actually see Miles's or anybody else's questions in the chat so if you don't mind Gus you're going to have to probably field them until I can see them okay answering Miles's question which was it's a really good one understanding you know how to what extent do you think culture and an understanding heritage culture can contribute to the sustainable development goal and in particular about the promotion of peaceful and inclusive societies and I've served on the board of the National Trust I've worked for the British Museum I've advised Tate I've worked for a number of different major national institutions in Britain and what they all seem to have in common is if you actually go back to their founding objectives they even though they're all driven by this idea of the intrinsic value of the arts of the arts being about something which is about lifting us through beauty they all also were driven by another imperative of wanting to find ways of getting society to to work better of us to cohere better to to drive social cohesion to help to facilitate greater education and opportunity for disadvantaged peoples all of those institutions that they had a transformative component to a social inclusion component to their actual founding thesis and it may well be that now we've confined an awful lot of those kinds of drives to you know you know to our diversity action plans but they were pretty much part of our formal founding objectives and so absolutely with V&A East we are embracing that as key and core you know equity openness you know these will be things that will be absolutely formally part of our founding objectives as well as sustainability we can't create an institution today which does not in some way engage with its responsibility to to to to the world and the environment so it's a really good question and it underpins so much of what I want to see V&A East represent and Afar Hussein how how could we be more effective towards intellectual collection to the participation role in the society and public domain so so how can we make our collections feel more relevant to wider a wider public I'm I'm going to interpret that in that way and and I think for me this is the key question that you know one looks at our collection quarter of a million objects five thousand years of history the responsibility of that and we hold those objects in trust on behalf of the British public and we hold them in trust also on the basis that we try to engage the public in those narratives and so fundamental to what we are here to to do is to actually engage the public is to actually activate those objects through a kind of relationship with our constituency and it's in that space that public institutions become more than just more than just repositories of ideas and nice things it's there that they become active crucibles with the potential of both building and driving social cohesion but also doing that critical thing that we need I think more than ever which is driving change driving driving the potential for real discourse and to do it through a space that feels inclusive and that is what I think great museums can do and if one can do that through beauty I mean wow I think that that's really exciting Gus Nick Westcott who's the director of the Royal Africa Society is asking you what your approach is to to demand the return of cultural cultural objects yes and I did try to answer that that this is something that you know a wide range of of museums are considering at the moment and considering as consortia but also considering individually and when I said the National Museum of African Art that we we actually commissioned a survey that looked at the state of of museums in Africa and we you know it is devastating when one looks at the way in which there are some exquisite museums on the continent of Africa but there are also there is also kind of a vast number which are failing catastrophically and we have to find a way of equalizing that we have to find a way of of sharing of returning of engaging with debate of of exchanging expertise of we have to find a way of opening up the conduits and of creating greater equity I mean it's difficult to work in a sector in which we are trying to celebrate education and expertise which is which are all based around the idea of having a kind of equitable playing field of having opportunity of having a space in which one can share and then for there to be such inequity of delivery and particularly for people who feel genealogically connected to the very materials that we are discussing we have to find ways of equalizing some of that presumably one of the things that underpins some of the difficulties of some of the institutions that you've mentioned is straightforwardly a problem of public finance capacity in some of those countries and do you think that there's more that could be done either by multilateral organizations well-banked so on or bilateral in terms of the newly merged FCO and DFID here in the UK to support the arts the arts cultures museums memorialization within other countries well if you if one looks at the cultural industries in Britain and the high proportion of of GDP that is generated by the cultural sector I would have thought that for well-banked the idea that you know they have culture there as one of their their key their key priorities but it is way down the list and I do feel that a reinvestment in that would really be kind of strategically important at this time and one looks at nations which have gone in that direction and it has yielded you know fantastic benefits I look at you know some of the some of the new galleries some of them commercial one looks at a place like Johannesburg and you know they're in you know there there are a number of commercial galleries one looks at Cape Town you know they're you know Zeitz Mocker doing incredible things you know and then the Norval Foundation just you know another world-class institution not far away and it's amazing how quickly whole sectors can be transformed and across the continent these new institutions have grown simultaneously with a whole new generation of African artists who are doing utterly astounding things rewriting the you know what everyone expected might be possible in terms of in terms of sales in terms of representation in terms of the the way in which they're actually being placed within the big global art fairs so I think the future does not need to be like the past I feel so optimistic about the African art sector and you know I will whilst I'm in this role be really keen to be working with institutions across the continent and doing it to bring the the best practice here but also trying where I can to help to to to share expertise but also just in any way I can to help to transform the opportunities of of the younger generation of curators and artists I mean I think that just what you said just then may may be the beginning of the answers to two of the questions on the right hand side one one one from from Vanessa Kyle about diversity within the workforce of museums and galleries and the other above from Ariki okay about what discourse is what themes you want to use the vna brand and collections to engage with I think that may touch on some of what you were just saying well I I want to you know and I have a responsibility to to try to touch as many people particularly young people as I possibly can through this incredibly accessible and glorious collection and so you know for me I still think back on my first museum experiences as you know wonderful but slightly daunting so my hope is that we can create an environment which is welcoming but at the same time that it offers people a chance from their very initial visit to when they are major practitioners who are celebrated around the world a space in which they can absolutely kind of um execute their dreams that they can feel that we can walk in lockstep with people to ward their aspirations and you know one looks at the great collections and you know that they can often feel somewhat distant they can I can always remember as a young person going into museums and galleries and somehow feeling you know that either it was a privilege to be there or or feeling slightly like um I wasn't actually welcome and I want that absolutely not to be the case this needs to be an environment in which particularly those local people feel like it is there absolutely world-class collections world-class curation but it belongs to those local people and you know one looks back at the history of the sorts of people who come from this bit of London and they've contributed so much to to to the cultural well-being of of Britain to its GDP but they've had so little in return I think this is a tiny reinvestment in a community that have been so long overlooked and so I just feel it's such a privilege to be a part of that narrative. So picking up on that Lewis Tony is asking whether whether there are plans for V&E V&Es to work with UCL East and also the Slade and and also with my own hat on with people working in art history and music and media at SOAS as well if not a little yeah well yes well Slade get absolutely through UCL we will you know we are building a partnership and my hope is that there will be collaborations on courses and all sorts of different programming so we are so privileged to be in this amazing neighbourhood of of incredibly diverse local population but also these very dynamic other institutions who we're going to work together with so that could you imagine the BBC with all of their orchestras one has London College of Fashion with all of its expertise one has Sadler's World's one of the most innovative theatre production companies in the world and all of us with this absolute same aim that we will through excellence inspire a new generation and I want V&Es to be absolutely at the centre of that that this is of course it's about bringing the great experts to V&Es bringing the superstars to V&Es but it's also about giving a platform bringing in audiences who may never have felt welcome in in or comfortable in a museum for them to feel that it's theirs I think that is the exciting thing to build a new kind of museum paradigm in which we can all see ourselves reflected and all feel comfortable I think that is something that if we manage to do that I think it'll be really it'll be something that be revolutionary in the way that Henry Cole the founder of the V&A would have felt very proud that's what he I think he wanted to engage with this idea of making being almost like it being more than a campaign of it being something that he wanted to evangelise about he saw making as being a kind of way of emancipating people from from a lack of professional flexibility having skills in which people can actually realise their own dreams was something that he wanted to to offer to a generation and I would love it if we could find ways of doing that in this moment in which we are empowered through digital tools to offer global solutions that's really exciting to me it's interesting Gus that you know that you've emphasized so much the making history of the area and of course one of the things is more recently is that a lot of that making has disappeared and has been replaced by by living rather than making you know as the residential blocks are displacing some of the some of the rather beautiful old warehouses and stuff but there are also there is also this history of studios of artists working the other thing that you haven't mentioned which is a hotbed of superstars at least according to some people great creativity on field is West Ham I wonder whether you can use that opportunity to read the new audience as well yeah and West Ham that they have huge audiences and we're also kind of adjacent to Westfield one of the biggest shopping centres in in in in Britain so it's there are all of these different kinds of demographers who converge on the old Olympic park and it's to find ways of them not feeling like they need to be exclusive to one another I would love it if this particular cultural area becomes a point of confluence for all of these different demographers and not as a kind of place in which one is going to go and see something strange which feels like a privilege but to go and to go into a place that you can relax in and that you can see yourself occasionally reflected but you can see usually amazing things that are delivered by some of the great creative forces in the world but presented in ways that feel like they are closer to you rather than further away you know that kind of it's great that we reify and we put people and objects on plinths I also want to make them feel like they are accessible and that you could potentially pursue a similar course that it might not be that you can be a creative genius but you can we can all engage in exercising our creative imaginations in different ways and I want this to be a space in which we can answer and ask some of those sorts of questions Lucy is asking how you and your team have managed to keep working on this project during the pandemic? Well I actually flew back to London from Washington DC on the very last plane from DC it was just my cat and myself and I came back and then there was lockdown and my wife and my daughter and I that we are sharing the smallest flat in in our bit of north London I imagine and so when I realized that I thought how am I going to fashion an office and the only space that I could find was is a kind of small linen cupboard which I've converted into my office and you know that is where I work from thankfully three weeks ago we began to open up bits of our office down in east London and I'm sitting now in Plexil which is a shared office space where we'll be working as we begin the transformation of our two spaces and I come in here a few days a week but I think one of the things that the lockdown here it has done is it's changed I think some working practices possibly for good and it's made us realize that we can do this sort of thing and it is enormously effective it's great to speak to people across the world in real time and to engage with communities and it's it's exactly the way in which we want our museum to work that the things that we share by way of ideas can help us to actually in some way overcome distance and overcome difference and that is what will help us to in some way deal with many of the kind of it's not just the post-covid challenges but also for us to think about how we live sustainably in this world that we don't always want to be traveling to far off locations as attractive as it is if we can find ways to engage through digital spaces and to be creative and to be productive I think that's enormously effective and what this period has done is it has constantly our learning in ways that have forced us to actually to deal with things that may have taken generations for us to take on so it'll accelerate changes I mean it's you know you can go to the Vatican or wherever digitally and you can get quite closer and it's and it's great but it's it's not quite great enough so it's not just the quality of the imagery it's probably got to be other technical changes haven't they to presenting collections and material to do what you want and reduce just yes yes yeah well I'm I'm enormously excited and daunted by this responsibility and and it's in part you know that it's not often that one gets a chance to engage with the possibility of creating a new public institution and what publics are demanding of their institutions has changed over the last hundred and fifty years and we need to deliver a kind of museological proposition that speaks to 21st century needs you know what is it that you know Gen Z are demanding you know in their cultural space that it is something utterly different than than than than than my generation so we've got a lot to learn from our audiences and so I want to spend time listening and I want the institution to be reflective and dynamic and open to the possibility of change because it's such an exciting time and the institutions that get this right I think will create a different kind of museological proposition and I think that is enormously exciting there's a question from Kenneth at the Africa Center and it's mainly our last question and and Kenneth's asking you know the question is not just about changing narratives but but who owns and who gets to own and how those narratives I don't know what do you have anything to absolutely and one of the great privileges is that we are well it's we're living through this period of of great challenge you know that as we come out of lockdown and our economy is is going through a period of of some contraction and we you know I feel very fortunate in which you know being in a position in which we are part of an institution which is you know like Kenneth which is is is is growing and is trying to employ new new staff members and so for us we feel that we have a responsibility to make sure that that those teams that they reflect this new moment and this new generation and so I am hopeful and I you know that we will find a way of of engaging with this opportunity because I think anything else would be deemed to have you know to have been a failure that we need to find ways of employing not just the same sorts of people that one sees in so many institutions but it's not just about demographic profile it's also about mindset that we need to create a new moment for museums in which we can we can really engage with that generation many of whom you know Gen Z you see them turning away from you know so much cultural practice that is produced by the older generation because they feel somehow that we've let them down and I want to find a way of building a bridge across between us and that generation which is and then there is a generation which is driven by the idea of of of kind of cultural integrity you know that they embrace the ideas of sustainability inequity really fundamentally and I want to see us doing the same institutionally and one looks back across the history of the development of national institutions you look at the initial development of the British Museum of the V&A of the National Trust and they are driven by that same moral compunction and I think that as as we found our new museum it has to be as well as an institution which is underwritten by by excellence it has to be underwritten by equity and it has to be underwritten by an ethical code those things have to go together thank you Gus I think we're pretty much out of time I think these are the issues that you've raised and that people have asked you about that they're really important issues they're part of a an ongoing and open conversation that I hope that we will be continue to be involved in I think you've given us some some really inspiring thoughts about the new project about V&A East and it's it's placed specifically in London but also the V&A's role London the UK's place in the world more broadly as we try to to rethink through that it's clearly an incredibly exciting project and I think we're amazingly lucky that you came back for this we really look forward to to seeing this come to fruition and and opening it's great you're back and and I personally and I know all of us very much look forward to to staying in touch with you and and seeing you digitally and hopefully in in person soon but Gus I'd like to on behalf of everybody thank you very very much for joining us and to thank everybody who's joined in who's listened who's posted questions thank you all remind everybody that this session is recorded if you want to watch back over parts of it and on my part to apologize for my technical utter failure earlier on but lovely to reconnect but thank you Chris and thank you everyone I've looked at so many of the names of people who are people who I love adore respect and it's so wonderful to be in touch with you even if it be you know remotely in this way and please you know be in touch and come and see us at V&A East and support so as it's an institution that made me that I absolutely I adore and I cannot think of ways of repaying the investment that it's it's made in me and so you know if there are ways in which you can support so as you know it would make me so happy if that were the result of this evening it's an institution that I feel so privileged to have been a part of and thank you again Chris you've been throughout my career such a supporter and you know I'm so grateful to you for your friendship for your loyalty and just the inspirational work that you do at SOAS you know it sets a bar sets you know shines a light for a generation and I just feel you know SOAS it might be that we're going through a challenging time but what it does is so important and I feel so privileged to have been to have had the benefit of an education there and I hope that many other students will also have that benefit over many generations to come. Thanks Gareth we're we are all at SOAS hugely grateful for your support and that of everybody like you that's great thank you so much. Thank you so much.


What's up everybody Jason here for Jaxby's case breaks calm We're giving away two Super Bowl square promos spots away with this 21-22 hip parade Goat all-time great multi-sport edition series three hobby six box case break random players number two and again guys very very high risk High reward as it is only 32 spots at 225 a spot Six hits in general guys one card per box six boxes per case And it features all the goats That's three of them right there From Michael Jordan Lebron James Kobe Bryant all the way down here to Usain Bolt and it is multi-sport guys So all the goats from all the sports So I am down to Brian are the ones that Got those straight up and then Shawn Maddock from prism cell and I'm all the way to David from prism cell 10 got those in a pack filler and paid a fraction of the price There's the players. Let's roll it See what you guys match up with three to four looking number seven one two three four five six Seven three and a four seven Matt down to Jason four five six and Seven Diego Maradona down a Roger Federer with Diego Maradona Steven with a Ruth John with the Usain Bolt gave a Mike trout Terry with Muhammad Ali Maran with a webcam David Green with Serena Williams and Lewis Hamilton Steven with Sidney Crosby Adam with Mara Lemieux Timothy with Pele Patrick Mahomes for Sean Maran Novak Djokovic Joseph with Mickey Mano Brian Croft with Stefan Steph Curry Brandon Hall with Joe Montaña Michael Golder with Tiger Woods Jason with Bill Russell Maran with Michael Jordan Adam with Lionel Messi time with Michael Phelps Brenton with Floyd Mayweather Maran with Christiana Ronaldo Stephen Schwartz with Lebron James Sean Maddox with Wayne Gretzky David with Tom Brady Dominic with Raphael Nadal Brandon with Kobe Bryant Terry with Mike Tyson Tim with Hank Aaron Brenton with Jim Brown and Jason Kersh with Roger Federer So if anybody wants to trade Give you guys a quick minutes I Man, I think you're gonna have to stick with Michael Phelps chairman of closing This is the way This is the way. All right. We have case two of six Here we go guys Last time I did one of these I want to say I hit a Michael Jordan 46 out of 50. Nice.  That's awesome, man Yeah, I didn't do this series last time. I don't know. I don't know if I did series one or series two, but I Remember I hit a Jordan. I don't want these. All right, so it doesn't feel great.  This is a big one. This must be like a cell sheet Lionel Messi patch autograph from obsidian soccer 17 out of 22 Who has messy Adam Comperman with Lionel Messi? She And even like put 100 right there or what that's gonna stay with you right there. Well, that was a great first box 42 out of 50 this time now TB 12 Tom Brady 2011 finest X-Fractor, which is a PSA 9 and That's gonna go to Tom Brady and David Green who got that from my prism cello pack 33 out of 50 Not bad for a $200 buck or $200 spot, right? Then Coverman bought two spots. So He's still up the great one Wayne Gretzky from artifacts This is Lord Stanley's legacy 20 sorry 2016 17 That's awesome Matthews rookie year and who has a great one Wayne Gretzky Shawn Matic You're getting some goats We are getting some goats We were already so far gotten two out of the three on the on the photo Just missing this guy Well Speaking into existence about a twenty two thousand and two tops chrome refractor of Michael Jordan PSA 9 and that's his wizards edition Look at that Michael Jordan Martin with that one. We did the trifecta Two more guys. Good luck. Oh Joe Montana 1981 top man a PSA 10 of this is ridiculous But I'm sure a PSA 8 sells pretty well Old-school PSA slab as well PSA 8 Joe Montana rookie 1981 tops Joe Montaignea going to Brandon Hall. That'd be rough Jay If I had the bulls, I probably also bought the wizards 23 out of 50 They wouldn't dare put a Another Jordan in here, but they could put LeBron James and it's one last goat 2001 upper-deck golf Tiger Woods PSA 10 There you go Tiger Woods that is going to Michael Golder Congrats, buddy My shoes. I'm bad like a $400 hit and there you go guys That was the break so Tiger Woods Joe Montana Michael Jordan Wayne gratsky TB 12 and of course the biggest hit Lionel Massey out of 22 And Adam you also get that sent with you as well. Appreciate it guys. This was goat pick it around into players number two Series three Jockeys case brace calm guys. Thank you


Let's talk about what happens to our batteries when they are connected in parallel. In previous videos we saw what happens when they are connected in series. We saw that their EMFs get added up and as a result we end up with more voltage. So for more voltage you connect them in series. And we also saw their internal resistance is also getting added up. If you need a refresher feel free to go back and watch that video. Now let's focus on what happens when you connect them in parallel. We will see in this video that when you connect them in parallel you end up getting more current. And we'll clarify what this means and compare with this. Alright so let's dim this part and focus on the parallel connection. So the question we're going to try and answer is if I know the EMF and the internal resistance of each of these batteries what's the effective EMF and what's the effective internal resistance? If I were to replace this combination with just one single cell what would be the EMF of this cell? So it has the same effect as these two. So let's call that effective EMFEP, P for parallel and let me just write that to the top. So EP, P for parallel and what would be the effective internal resistance over here? How do I calculate that? And I don't want to do a lot of equations. I want to do this logically. So the key thing for parallel connection as you may remember from studying other parallel connections like that of resistors or maybe capacitors is that in parallel the current gets added up. So what I mean is if this way do we connect it to some external circuit then we will see that whatever current we get from this battery and whatever current we get from this battery notice that they get added up over here. So the current that you get from the effective battery is the sum of the currents that you get from the individual batteries and I can use that to build an equation over here. Alright so how do I know what is the current here, what is the current here and what's the current here? Because I know that this equals this plus this. This is the same thing as this one. This equals this plus this. So how do I calculate the current? For that I need to attach it to some external, you know I need to attach a circuit, I need to close this circuit that's what I mean. That means another resistor might come but you know what I like to think of to keep things simple? I like to just short circuit it. So just hear me out. What if I were to just connect the ends like this and short them? There is the same thing as shorting this circuit as well right? So notice that I have shorted, short circuited this battery. This battery also has short circuited meaning no external resistance, zero external resistance. This battery has also been short circuited notice and the effective battery has also been short circuited. Alright so if I look at just this battery, can you tell me how much current will come out from this battery? Just concentrate on this circuit. How do you figure that out? You may ask. So if you think about it in this circuit of the top battery, the total voltage in the circuit is just E1, the EMF of this cell. The total resistance in this circuit is R1. In this entire circuit you don't have any external resistance so it's only R1. And so voltage we know, resistance we know. So what do you think will be the current in this circuit? So can you pause and think about that? Alright so the current due to just this battery, if you only consider this circuit, the current that will come out from this battery, that would be the voltage of this battery divided by the resistance and that current would be E1 divided by R1. So E1 divided by R1. That's the current that this battery will push. And in fact if you remember from our previous videos when we looked at cells and EMFs, this is the maximum current this battery can ever give. Because notice even when I short circuited it, I have put zero resistance. But whatever short, even in a short circuit the minimum resistance the battery will provide is R1. You can't get even less resistance than that and therefore this is the maximum current this battery can ever generate. Alright similarly what do you think is the maximum current this battery can generate? Well it's going to be E2 by R2, right? What do you think the maximum current this battery will generate? What is the current generated in this by this effective battery? Well same logic, it's going to be EP divided by RP. And now I know that this current should equal this current plus this current. That's what it means to be effective. So now I can write an equation. So again can you pause the video and write an equation connecting the currents now? Alright so I know that this current which is EP by RP, write that over here. EP divided by RP that equals this current plus this current. So it's going to be E1 by R1 plus E2 by R2. And there we go. That's our equation for, that's our equation for cells connected in parallel. And if there are more cells connected I can just write E1 plus R1 plus E2 by R2 plus E3 by R3 and so on and so forth. And so do you now understand the meaning of this equation? We derived it logically but do you understand? This represents the total maximum current the effective battery can get and these are maximum currents the individual batteries can get. And now do you understand why in parallel I said that you get more current? Because by connecting them in parallel I have increased the maximum current that you can ever get. So if you want to increase the capacity of providing more current then you have to attach the batteries in parallel. Now again be aware that if you, you need to attach them in the proper way. What if I flipped one of these batteries? Then the current would be in the opposite direction. Then the total current would be the difference between the two currents, right? So then you will not get added up. So you need to attach them in the right way meaning positive connected to positives negative connected to negatives. But if you look carefully you might say hey but I have two unknowns over here. I don't know what EP is. I don't know what RP is. And I only one equation. How can I solve for this? And you're right. We can't solve this just by using this equation. We have two unknowns. So I need one more equation if I were to solve for EP effective EMF and effective resistance. So where do I get the second equation for? Well the second equation I can get just by looking at the resistances.  So can you pause and write down what would be the equation for the effective internal resistance? These are in parallel, all right? Hopefully you've tried. So what is the formula when the resistance are in parallel? We get one over RP equals one over R1 plus one over R2. And so notice, I can first calculate what the effective resistance is by knowing R1 and R2. And then I can plug that over here. And then I can calculate what the effective EMF is. And this is how you can calculate the values of EP and RP when you have batteries connected in parallel. So when we compare these two, what we see is if you want more voltage from your batteries, you need to connect them in series. But since the internal resistance also increases, this is not so good in getting more current. If you want to get more current from your battery, you need to attach them in parallel. Because remember, when resistors are connected in parallel, the net resistance decreases. So when batteries are connected in parallel, the effective internal resistance decreases and therefore gives you more current. In practice, however, we always end up getting mixed combos. So for example, you want to build an electric car with a particular voltage and you want to be able to get a particular amount of current from that battery, then what you do is you add batteries in series until you get the required EMF. And then you take such combos and you put a lot of such series combos in parallel until you get whatever maximum current you want. So it's going to be always some series and parallel mixed combination.


On today's Two Minute Tuesday, we will show you how to configure retention policy for your organization's data, otherwise known as data governance. We will also show you how to search that data, or as Office 365 calls it, eDiscovery. To make a retention policy, an admin must sign in to the Security and Compliance Center, then select Data Governance. From the drop-down, select Retention, and then the Create button to create a new policy. Give your policy a name, then configure your settings. You can choose how long you want to retain the data, and what to do with the data after the retention period has been reached. The Locations tab allows you to select the different apps you can retain the data from, and once you've made all your decisions, review your settings and click Create. To search your data, you have two options. You can either do an ad hoc search by doing a content search, in which case only the admin running the search has the ability to view the results, or you can use eDiscovery, where you can create a case and manage who has access to the content that was collected. You can also have multiple searches inside of a case. And when you're creating a search, you enter in keywords that you want it to match with, and you can also add conditions to narrow down the search. Once you run your search, you are given a summary of what was found, but by clicking the View Results button, you can see all the messages that the search identified. And once you've found everything that you're looking for, you can export the results, and you can also specify what kind of criteria that you want to export it in. Finally, that brings us to permissions. In order to have eDiscovery function, you must assign permissions ahead of time, otherwise you will get an error message saying that the appropriate permission hasn't been assigned. I'm Steve with the Protective Trust Training Department, and I'll see you next time.


Hi, my name is Andrea with Foodimentary Adventures in Food. Welcome to week two of the Pantry, fridge and freezer challenge. I'll be sharing the meals that I made throughout the week for my family. If you're participating in the challenge, I'd love to know how it's going for you. Please let me know in the comment section. For breakfast, Howard is having a bowl of this honey bunches of oat cereal and I am having some granola and yogurt. This is a yogurt that I'm using. I got it at Aldi and it is so good, very rich, very creamy. I normally get there, I think it's honey, vanilla or something like that yogurt in a tub similar to this, but this was a special buy, they're lemon Greek yogurt. It is so rich and creamy and indulgent. So I'm gonna have a serving of yogurt and then a serving of the granola on top. So I will see you all for lunch. So for lunch today, I made wings in the air fryer. I get this big bag of wings from Costco. They have different flavors. This is the classic buffalo. I'm not crazy about the sauce, but the wings I love. I know there's been mixed reviews about these wings. Some people love them, some people hate them. I happen to love them, that's Harrison playing behind me. So since I did not use the buffalo wing sauce that came with it, I did use this instead. I get this from Aldi and it's really good. Asian flavored, has a spicy kick. It reminds me of the dipping sauce that you get from Chick-fil-A for their chicken nuggets. I think it's like a sweet and spicy sriracha or something like that. Anyway, that's what it reminds me of. But this is what we're having for lunch today and we'll see you all at dinner. So we are having pizza night tonight. This is semi-homemade pizza and I am using this box of hot roll mix that I had in my pantry. We flip it over because there is a recipe for homemade cheese pizza. So I followed these instructions and we are adding toppings to ours. So I've got some onion, a red onion. We've got pepperoni, mozzarella cheese. I cooked up some sausage. Of course we have pizza sauce and I'm using Italian seasoning. Howard added smoked paprika and crushed red pepper to his. Here is mine. I'm getting ready to put it in the oven. Howard's is already in the oven so I will show you all what both pizzas look like when they are out. So this is Howard's pizza, hot out of the oven. And here is my pizza, hot out of the oven. So this is what we are having for dinner tonight and we'll see y'all tomorrow. Good morning. So I am starting off this morning with a cup of chai tea. I've had this for a while. I love chai tea and I'm not really hungry so this is perfect. And I'm also having a little package of these vanilla gram snacks that I picked up from Aldi. They usually have these in the winter. Usually after Christmas they have them and they have vanilla and cinnamon and I have both of them. So anyway, this is what I'm having for breakfast. Howard will probably have a bowl of cereal. So I pulled all of this Asian food out of our freezer. Of course, need to use it up. So I'm gonna be trying this for the first time tonight. Signature Spicy Chicken from Innovation. I have had this fried rice before from Bibigo and it is really good. I like it a lot. I don't like peas so I normally take those out before I cook it and then you can make it in the microwave. The skillet tastes a lot better to me so I've always made it in the skillet and then also in the freezer I have these spring rolls from HEV, a grocery store here in Texas and I'm going to throw these in the air fryer.  Okay, so here's our dinner. Like I said, we both really like the fried rice. It's pretty tasty. Chicken, eh, not that great. I probably would not buy it again and then spring rolls we haven't tried yet. But anyway, this is what we are having for dinner tonight and we'll see y'all next time. So for breakfast today, I made a big batch of blueberry muffins and so that is what we are going to be eating on for the rest of the week and I did record a video that will be out on Thursday on how I made these blueberry muffins. So I will see you all at dinner. Okay, so for dinner tonight, I am using this pasta sides. I got this from a closeout, probably big lots or something, a while back ago. So I'm using that and it comes with a creamy Parmesan sauce. To bulk it up a little bit, I am going to use up this spaghetti sauce that I had in my freezer. There's not that much in it, but it's a meat sauce and then I'm going to add some cheese to it and then in order to kind of stretch out the pasta sides, I'm going to add a little bit of this Texaroni pasta. It is a pasta, let me try to zoom in, shaped like the state of Texas. It's a small pasta, probably about the size of a macaroni noodle. So I'm probably going to use about a cup of that and add it to this and make like a pasta bake. So I'll show you what it looks like as soon as it's finished. Okay, so the casserole is hot out of the oven, did not have any garlic bread. So I am serving some naan that I had in the freezer from Trader Joe's that I needed to use. So I just split a piece of naan for us and then added some butter right on top. And then we are also having a side salad. Here is what the casserole looks like. So anyway, this is what we are having for dinner tonight and we'll see you next time. So Howard is outside grilling Korean short ribs for us and I thought I would show you all how I make stick of butter rice. I have made this before on our channel. I don't make it very often because it is so rich. It has a lot of butter in it and it uses canned ingredients like this beef broth. So it has a lot of sodium. So it's not something I make all the time. So in my casserole dish, I have one cup of dry rice. I just added in beef broth and now I am adding in French onion soup. And then I'm just gonna give this a stir. I've got my oven preheating to 350 degrees. So now I have one stick of butter or a half a cup of butter unsalted.  Okay, so now what you're gonna do is cover this tightly with foil. You're gonna bake it for half an hour covered and then you're gonna uncover it and bake it for another half an hour. Okay, so here's our dinner, how we're just pulled the short ribs off the grill. Here's what the package looks like. Of course, I have these in my freezer from Trader Joe's. I think they're like $12 or $13 a bag and one bag feeds the two of us. So it's just like a one meal type thing. And then here is the rice. It is so good, very rich. Like I said, I don't make it a lot, but it's tasty. And then we are just finishing up the lettuce that we had in the fridge. So it just made a little salad. So this is what we are having for dinner tonight and we'll see y'all next time. Hey, so I am trying out a new recipe today and I made some modifications based on what I have in my pantry and freezer. Salisbury style, meatball and potato bake. And I guess this is an old recipe, old magazine 2004 I think. But I'll make sure to, if I can find the recipe online, I'll make sure to link it so you guys can check it out if you'd like, turn it back over. So pearl onions, brown sugar. It calls for instant mashed potatoes. I'm just gonna use just homemade mashed potatoes. And I'm not going to pipe my mashed potatoes in the casserole dish. I'm just gonna serve them on the side. So the meatballs that I'm using, using the last half of this bag of meatballs from IKEA. Love these meatballs. Let me turn it over so you guys can see the ingredients. So here are the ingredients, beef, pork, breadcrumbs. I like these because they don't have a bunch of fillers in it, but let me show you. So in this skillet, I've got my pearl onions cooking and they're frozen in butter and brown sugar. And then this recipe calls for jarred brown gravy. I did not have jarred brown gravy. I had two gravy packages, so that is what I'm using. So as soon as my onions are done, I'm going to add in my gravy and meatballs and they're actually supposed to be thawed. I didn't realize that they're frozen. And then I'm just gonna pop them in the oven and just continue to bake them. So I'll show you what everything looks like when it's finished. Okay, so here's our dinner and I'm just serving the Salisbury meatballs over the homemade mashed potatoes that I told you all about. Made some canned green beans, used the butter and some of this, I never know if it's kinders or kinders, but every steakhouse seasoning, it's so good. I put it on everything and I also added a little bit of onion salt to it. So this is what we are having for dinner tonight and we'll see y'all next time.


Okay, thank you very much. I'm delighted to be here and thank you very much to Stefan and Camilla and Matteo for inviting me to be part of this very exciting program. I'm really looking forward to today. So for the next 15 minutes or so I am going to talk about some of the work that we've been doing at Ulster in relation to personalized nutrition and set it in the context of non-communicable diseases. So first of all for the first few minutes just one slide on what is personalized nutrition and I know that we could spend the whole day discussing what exactly that is and then maybe to go through some of the aspects of personalized nutrition in the context of the work that we do at Ulster and focusing on riboflavin for today. So I'll talk about some work on gene-nutrient interactions, nutrient-nutrient interactions a little bit on health practitioners not much time and 15 minutes and just one slide on the challenges going ahead. So for this audience I don't think we need to spend a lot of time on what is personalized nutrition because really it means different things to different people and you know we've had lots of different definitions proposed that try to capture what it is we mean and understand. We've also had different levels proposed but I think for all of us really what the focus is is trying to target advice to support individuals to change and maintain a healthy balanced dietary intake that meets their personal requirement but what makes that very confusing is that we have very many things to consider within this. So there is individual variation and I know in the Stance for Health project you have been considering that and it's going to be very exciting to hear the data emerging today from the microbiome. So to talk through maybe some of these variations I am going to introduce you to my favorite nutrient riboflavin a somewhat overlooked nutrient and maybe more important than some people recognize and I will give two examples of how we can consider riboflavin in relation to personalized nutrition. The first example is gene nutrient example and it's in set in the context of hypertension which we know is one of the major non-communicable diseases. This is a paper sorry from the Lancet which shows us that despite everything we know about hypertension treatment and control rates are still far from optimal. So there are many other factors that must be going on in hypertension that we need to give our attention to and genetics are clearly one of them and this G was genome wide association study and eight separate loci were identified and one of those loci was around the empty hitch sorry I keep pressing the pointer the empty hitch for gene which I am going to focus on today and the prevalence of this polymorphism varies depending on where you live in the world so for example for some people it's virtually non-existent whereas if you live in Mexico one in three people carry this polymorphism which really is putting them at a much increased risk of hypertension and so what this graph tells us is that there are other factors impacting this polymorphism and those must be environmental factors if you think about that graph so we've been interested at Ulster in MTHF4 for many years and in order for MTHF4 to work effectively this is the folate cycle it's part of one carbon metabolism MTHF4 requires the B vitamin riboflavin and in people who carry this polymorphism that I'm talking about their ability to bind riboflavin is affected so they have an enzyme that works less efficiently so we looked at MTHF4 in relation to blood pressure in a cohort of premature cardiovascular disease patients and we reported what others have seen that if you carry this polymorphism both your systolic and diastolic blood pressure are significantly higher but what was very novel about the work that we did was we were the first people to show that if you gave riboflavin just at the dietary level that you were able to significantly lower your blood pressure but this was confined only to the people who carry this TT genotype so this is where the gene and the nutrient are interacting we went on to repeat this work in two separate studies and we can see that there is variation in the response we don't fully understand why but age may be a factor we were also able to look at this polymorphism in relation to blood pressure across the life cycle so we have a very nice large irish cohort of over 66 thousand adults and we showed that from as young as age 18 if you carry this TT genotype which is the red line your blood pressure is significantly higher than if you didn't when you start to get older other factors interfering with blood pressure come into play and the the waters get a little bit muckier but certainly your risk right throughout your life course is slightly higher and this would never be picked up because you're falling well below the cutoff for hypertension but you get to be hypertensive faster and this is true for systolic and diastolic blood pressure we then also were able in that cohort to look at the impact of riboflavin on that association and showed that in people who had poor riboflavin status this is observational data that their risk was three times higher if they carried this gene so there is clearly a gene nutrient effect going on here and when you give riboflavin the lowering that you see compares very well with other lifestyle factors that come into play so that's very important moving on then to my nutrient nutrient example riboflavin is also required in a separate metabolic pathway for the generation of active vitamin b6 or plp so what that means is that you can have a good vitamin b6 intake but if you don't have enough riboflavin there is a risk that you may not be able to convert it into its active form so that's where dietary intake alone won't tell you about your status so here we hypothesize that if you had a low riboflavin intake and this is based on a small randomized controlled trial we carried out many years ago that your vitamin b6 would also be lower again we looked in this large population of irish adults which we had biomarker data for and we demonstrated that if we subdivided them into classes of riboflavin status based on biomarker status and demonstrated that if you had low riboflavin status that this also resulted in a low concentration of vitamin b6 and this was irrespective of your gender or your age so this was right across the board that was interesting data the situation got worse if you superimposed the mth of four tt genotype onto that so if you had the tt and were deficient in riboflavin you have significantly lower plp this is observational we've got to prove it with randomized controlled trial but it does have implications for setting rda's for the likes of fsa and different bodies like that i can't talk much about attitudes of health practitioners but just to say that we did some work with general practitioners medical doctors across two jurisdictions so you know uniquely on the island of ireland we have the uk health service and the irish health service and we recruited gps and asked them some questions about personalized nutrition and what they told us overwhelmingly was that they were in favor of the concept however rather than just give riboflavin which has no upper limit it's not harmful they would prefer a targeted approach so as hosay said we need to work with industry to find nice ways point of care testing that we can help gps and medical practitioners to develop risk scores for diseases like hypertension and here you can see you know the very positive comments that the medical practitioners had in relation to the whole concept so in terms of the challenges and future directions we need accessible data and we need it to be harmonized we need to find out where the gaps are and in terms of the work that we do for with riboflavin you might be surprised to hear that this is actually quite difficult if you look across europe the uk and ireland are the only countries that report riboflavin status at a national level i think also germany might have some data but we have very little data and surprisingly you can see that unlike the developing countries where we have full-blown riboflavin deficiency and this is all measured in our laboratory back at ulster we have there is clear evidence of suboptimal status of riboflavin in different populations if that impacts it's not full-blown deficiency so people aren't worried about it but if we can show that it impacts on non-communicable diseases like hypertension then we should be worried about it and we should find a way to try and incorporate that into our personalized nutrition plans we were lucky enough to through a jpi funded project i led a project with colleagues from ubc in canada to really try and interrogate this a little bit and to try to develop some new accessible markers so there will be some nice data coming out on that in the near future and this is an example like stands for health how by coming together we can generate much better data we need to not just work as nutritionists we need to work with our industry partners we need to work with data analysts we need to work with artificial intelligence to try and develop our biomarkers and then work them into personalized plans so going forward i totally agree we need a multi-actor approach we need to work with industry our stakeholders our consumers we need innovative solutions we have to develop point of care testing we have to be able to find out where gaps are in the data and fill those gaps and we need education overwhelmingly when you look at um medical practitioners they embrace these concepts but they feel inadequate in terms of translating it to their patients and with that i would like to finish um and thank you for your attention and i'm really looking forward to the day and hearing all about the fantastic project that you've been working on for the past number of years thank you very much thank you Mary a lot of information very interesting information quick yeah you know because you have much more in your brain but we don't have too much time to explain about this any questions here in the room yes please just a minute they want to give you the microphone oh okay for the for the people at home or in the lab in the lab right yeah on your last slide so this was very interesting i understood the last slide best i have to admit because i'm more from the digital world than from food but the last the last slide said the very last point was education and you said that practitioners are interested in this but they're not educated on it do you have hypothesis on why that is i mean they have an interest but they don't know why is that well i think it's i think um if you look at there's actually i did some literature searching before i came and if you try and find out from dieticians or medical doctors what their attitudes are towards personalized nutrition the first thing is there isn't a huge amount of data because it's quite difficult to engage um health practitioners even in studies you know for us even to get the numbers that we got which were quite good for medical practitioner study was challenging um but if you look i found some nice work um that reported on dieticians attitudes and and really they don't feel that they have the confidence to give personalized nutrition to their patients so i think they just we need to develop work packages of how to educate them i think it's like cpd that type of activity that we can really engage with health practitioners because that's a really important part of the translation i think jose mentioned earlier you know we have to work together with our industry partners our digital technologies we also have to work with our health practitioners and give them the skills that they can then go on and translate to their patients yeah yeah don't expect for many clinicians to implement your findings unless there's a guideline a guideline from somewhere which will suggest that you have to do this absolutely clinicians are very busy and have too much things in their minds and i totally agree and i think that's why we have to try and influence clinical guidelines like the nice guidelines in the uk and similar guidelines so i think as scientists we should grab opportunities to get on those committees and to share our work because we can't expect clinicians to know about what's going on and all the scientific evidence but we have a responsibility to try and represent the scientific community by not turning away from nice committees and those kind of committees but get on them and try and spread the word and in that way you can influence the guidelines i think or try to testing the i don't need i think i have it for the people in the lab so here we go so i i repeated for the online people yes they're fun thanks um from uh biozoon i saw that you were testing uh riboflavine on uh on a different population group have you split it this population group by age and here my question is specifically interested on the effect of riboflavine on elderly people so are there any difference in the action with regard to decreasing the hypertension in elderly population or have you saw some kind of hints between that yeah when you measure hardly anybody in the world measures riboflavine status globally so our lab is one of the few we have been in you know we're working with uh different countries you know to try and explore that uh three different populations but what we know from our data is actually it's interesting as you age your riboflavine status doesn't get worse so for example with vitamin b6 you can see a decline in age but with riboflavin you don't in relation to the blood pressure lowering um older age becomes a little bit more complex because hypertension um there are a lot more determinants of hypertension in older age so your renal function starts to fall um your vessels become less elastic so there are many reasons why the effect of the gene maybe becomes a little less um of a it becomes less significant but we have conducted studies in the older adults and yes they respond the effect seems to be independent of the class of anti-hypertensive drug they take but this is an interesting question that we would like to address and I haven't got time today but we believe that um riboflavine's activity is via its effect on five methyl THF which is a folate co-factor which influences um nitric oxide which influences vasodilation so there is a mechanism uh you know that we have uh hypothesized um and again we're investigating that a little bit in a little bit more detail so it works in older people but there are other factors that impact hypertension in older people any more questions here in the room you can think that it's quite interesting because of we have different approaches to try to solve to cope with this deficiency in riboflavine exposure adding to different products but in the case we were testing because of we need to for clinicians to to give clear instructions about how to divide the people depending on the gut microbiota composition because depending on that the gut microbiome can produce synthesized riboflavine and so this could allow us to split the different patients exactly and to have different approaches for them okay so we'll see in the future I think the gut microbiota is really interesting we do not know how much the gut contributes to our riboflavine status and that going forward is so interesting to me how can we manage this yeah this could be another step that could be implemented also in the in the regular clinic exactly thank you any questions from the from the internet move on with the next speaker now but we will definitely take on the questions from the slido and inform them afterwards you're not doing the coffee break okay thank you thank you very so much thank you very much


Welcome to Capacity Middle East Extra, powered by JSA. That's us, JSA, and I am Dean Perine with JSA, and we are coming to you live. That's right. We are coming to you live on location from the Grand to Hyatt, Dubai, at Capacity Middle East. And I am here with Mr. Ayush Barot. And Ayush is the Chief Business Development Officer at Bankai Group. Ayush, welcome to the program. We're glad that you're here. How is the event going for you? Oh, the event has been excellent. I think capacity media is to be congratulated for keeping this, or growing the standards year on year for this event. We are very, very happy. And the audience just became more richer than the previous year. So that was a plus point for us. Yeah, no, absolutely. Just being here in the foyer outside the ballroom, you can see there's business happening all over. So the event is definitely going quite well for a lot of folks in Bankai Group included. So it's very good there. Why don't you tell our viewers a little bit about Bankai Group? So Bankai Group is a large telecom conglomerate dealing into mainly three verticals, services, which encloses voice, SMS, mobile top apps, KPO services, technology solutions, which mainly deals into revenue assurance, fraud management platforms, BSS, NSS solutions. And the most important one, the digital financial suit or the fintech platform, that we have one of the most secure and innovative platform spread across geographies. We are about 1,100 plus people today. I started out personally in 2005 with the group, so 18 years now with the company. And last year, we did about $1.55 billion in revenue, which was the highest for the group. Congratulations on that as well. Thank you. Yeah, we're doing really well in the Middle East, North Africa as a region, and a lot of exciting times coming forward. Very good. So let's talk about what's the latest and greatest coming out of the newsroom there. Oh, well, latest is we're very happy. We've deployed successfully two SMS hubs. One is in Togo with TogoCom, which is a big thing for us as a company. So now the entire TogoCom is exclusive to us when it comes to their international messages through a firewall. We did something similar for Voice and SMS in Tuvalu, a small island in Pacific, and a lot more to come in this year in a similar space. So can we predict some things that our viewers might be able to expect from Venkai Group in the coming year? Expect good quality, expect good service, and rely on us when it comes to services or our platforms. Excellent. Ayush, thanks for joining us. Appreciate it. Thank you so much. You have a good show ahead. Yes, thank you very much. And thank you viewers for tuning in. We appreciate it. We'll see you soon.


The following is a pre-recorded paid political broadcast sponsored by the Democratic National Committee on behalf of President Johnson's candidacy for the office of President. Ladies and gentlemen, the President of the United States. My fellow Americans, we have had many hard-fought presidential campaigns, but there has almost always been a broad area of agreement about the basic principles of American government and about the basic goals of the American nation. That is not so this year. This year it is a decision whether we will move ahead, building on the solid structure that we have created over a generation, or whether we will tear down this structure and move in a radically different and, I believe, a deeply dangerous direction. I would like to discuss this choice as it affects older Americans and all those who have relatives approaching retirement. Over 30 years we have shaped a simple philosophy. Those who have given a lifetime of labor to their country, who have fought its wars and built its strength, are entitled to live out their years in happiness and dignity. Our basic instrument has been the Social Security System. This system was born under President Roosevelt. It was preserved and strengthened by President Truman and President Eisenhower and President Kennedy. Sometimes they had different views on different proposals, but neither they nor their opponents ever wanted to abandon the system. Neither they nor their opponents challenged America's duty to strengthen it and improve it. This year you have such a choice. Our opponent has called for an end to Social Security as we know it. He has advocated a voluntary program. He has said and I quote him, people can better by protection privately than the Social Security law provides for them. A Republican governor, himself a candidate for president, described what this meant when he said a few months ago it would, and I quote him, be a personal disaster for millions of senior citizens and their families. Now, why is this so? There are many reasons. The curious is that you can only pay out benefits to older Americans if you receive a steady flow of premiums from working Americans. A voluntary program would drastically reduce this flow. I'm afraid the system would soon be bankrupt. Now, this is not just a single careless statement made by someone in the heat of a campaign. It is a conviction repeated many times. It is backed by a steady record of votes in opposition to almost every measure to help older Americans. Now is it a matter of party policy? Our opponent was the only Republican in the entire United States Senate to vote against President Eisenhower's plan for medical care. I offer you a different choice. I intend to preserve and strengthen our Social Security system. I intend to make it stronger by keeping benefits up with rising living costs. I intend to add to it by program of medical care insurance against illness in old age by program of loan guarantees so that older Americans can have a decent home. I do not believe that older Americans should be forced to live out their lives in poverty. Their tiny savings destroyed by illness dependent upon their relatives feeling unwanted by their country. The choice is yours.


Hi everyone, I'm Giddy and Massey at the Encino Velodrome here in Southern California. Today, Pure Fix Team is going to show us two of the most popular events for sprinters on the track. Track-Like Racing is one of the most exciting sporting events and it's something that everyone can do with a little bit of instruction. In a flying lap, each racer has one chance to ride their fastest lap possible. Angel, you ready? You guys ready? Alright, come on, let's do this. Show us what you got. The flying lap begins with a wind-up. The racer builds speed at the top of the track. That's good. A little bit higher on the track. His time will start when he crosses the starting line and he'll want to be going as fast as possible when he reaches the line. He'll dive down the track and build the max speed. Alright, come on, hard as you can, hard as you can. Come on, go, go, go. You've got to stay low on the track. You've got to lay it all out here, 100% intensity. He's following a black line because that's the shortest distance around the track. You have to dig deep when you come around the last turn and really push to the finish.   Great. And that's how you do a flying lap. Great work today, guys. You guys are looking really good, really tight professional. One piece of advice I would say is when you're driving up the top of the track along the transition, make sure you stay in the saddle and keep driving really hard. As you come down the banking, you're standing up out of the saddle going as hard as you can. When you sit again, sit smoothly in the saddle. Don't just plop and stay low. Keep your profile low. That's going to help you accelerate through the turn and just have a blazing flying lap. Match sprinting is a one-on-one race that takes a lot of skill and strategy. These guys are going to show you how it's done. All right, are you guys ready? Let's see what you got. Come on. Both racers started the line and raised three laps around the track. You might be wondering, why are they going so slow at first? This is because position is everything in a match sprint. They're slowing way down on the track. A lot of skill, a lot of skill required for this. They might even come to a standstill. Look how slow they're going. The rider behind actually has a better position and can draft off the rider in front of him and easily beat him in the end. That's why the rider in front has to be so careful, watching his opponent and even trying to trick him into taking the lead position by stopping and balancing on the track. Just like that, they come to a complete stop. This is called a track stand. When one of the racers makes a move, they immediately accelerate to speeds of over 40 miles per hour. And there he goes.  He's going as hard as he can for 100% effort here. It's all out sprint to the finish line. The rider's in the draft from behind. He's trying to come around him at the end. I don't know if he's going to get there. Come on, guys. Come on all the way to the line, all the way. Go, go, go. And that's how you do a match sprint. Okay. We just finished the match sprint. You guys are looking sharp out there. Remember, once you get on that track, focus 100% focus. The rider in the front, it's your job to be watching the guy behind you. Any little movement, you should be picking up on that. The guy in the back, maintain that distance. Don't sit right on the wheel. Never sit right on the wheel. Keep a little gap. You can always accelerate into the draft and come around him at the end. Those are just two of the many races that take place on the Velodrome. If you have any questions about track-like racing, go ahead and leave a comment below and we'll answer them. Make sure to subscribe to our channel for more racing tips and techniques. I'm Gideon Massey, and I'll see you at the track.


Hi, I'm welcome to the student series Ptl interviews. I'm here with Vitaly Gridnev with the Sahara project. Vitaly, can you introduce yourself and give us a little bit about your OpenStack background? Okay, thank you. I'm Vitaly Gridnev and I'm working with Mirantis, software engineer working at Saratov Office. So, I'm project technical lead of OpenStack data processing called name Sahara. And I'm working with Mirantis since killer release and with OpenStack also since killer release on June 9. Oh, great. Can you tell us a little bit about the Sahara project and what it does? Sahara project, the general aim of the Sahara project is to provide simple way to deploy open, deploy Hadoop clusters on top of the OpenStack. So, right now we can create several templates and create Hadoop clusters in a single click. And then you can perform a elastic data processing application on top of these clusters. So, that is a general aim of the Sahara. Great, cool. So, at the Austin Design Summit what were some of the hot topics with the Sahara team and what were some of the decisions and outcomes from those discussions? There are several hot topics on the Austin Summit. First of all, we discussed several API improvements that we really need to do in this ISO and also to implement new version of API called API v2. So, our plan to implement several changes to that and make that stable so that other folks can try that and also try to support that in Sahara client also. Okay, another hot topic was the image generation improvement that right now we have several and work required before launching the cluster so that users need to generate images and something like that. So, we are going to write several re-scipes for validation images and also try to create a simple way to generate images for current OpenStack deployment. And also there are several topics regarding the GDP improvements, elastic data processing, I mean, and also about security in the Sahara clusters. Great, were any of those discussions or topics the result of identifying operator or user needs? And can you kind of discuss how you found out about those needs and then how that drove decision making within the Sahara team? So, the general outcome for users that sometimes it's really too hard to understand from Sahara what is going on and so we are trying to make the changes to improve that and also sometimes there are some problems with managing and preparing Hadoop clusters so that is also a thing that we are going to do. Great, awesome. And what are the top three priorities for kind of new features or enhancements that the Sahara team are working on? So, the general top three, I think that first of all, the image generation improvement, I guess, as I said previously and also regarding the security for the clusters, several GDP improvements, elastic data processing and finally API as I said. Great. Do you think about those improvements in terms of any of the kind of common themes we hear across OpenStack like scalability, resiliency, manageability, modularity or interoperability and can you kind of describe how those improvements fit into the themes? So, I think that for us the manageability theme will touch us in this size select. I think that many changes we always do to improvement, to UI improvements and something like that and we, almost everything is okay with scalability for Sahara right now. By the way, maybe we will do some things in Newton or not Newton, I mean Akata and probably some kinds of resiliency also will be done in Akata maybe, I guess. Great. So, you mentioned the themes for resiliency and scalability in Akata. Any kind of foreshadowing of what those topics might be, what we might look to expect from the Sahara project in the Akata cycle? So, I guess that in Akata will be some kind of a cherry for deploying the cluster. So, right now if Sahara will probably die during the provisioning cluster there is no way to restore that cluster and we are going to make some several changes I guess in Akata to improve that. Awesome. Well, this was very helpful and informative. I appreciate your time today and especially your leadership on the Sahara project. Okay. Great.


This study assessed the effect of prophylactic co-immunisation with multi-epitope DNA and peptid cancer vaccines on the 4-T1 breast cancer animal model. The results showed that co-immunisation significantly increased serum levels of IgG1 and IgG2a, enhanced Illinois IV and IFN production, in splenocytes, and improved lymphocyte proliferation rate and Granzyme B production. Additionally, the co-immunised mice exhibited decreased breast tumor volume, 78%, and increased survival time, 37.5%, indicating that prophylactic co-immunisation with these vaccines can activate the immune system against breast cancer. However, further experiments are needed to evaluate their efficacy from different angles. This article was authored by Ashkan Safavi, Amir Hussain Kefiat, Elham Madhava, and others.