Well, you can totally hear me. I'm a J, and I'm a designer from the Caribbean. I'm from Trinidad, which is here. And I practice design for about 12 years back at home. And I think I could definitely now say that I am, for sure, a typeface designer as well. And when I graduated from the Cooper Union in 2017, I knew that the kind of work that I wanted to do was in Latin type, because that's the writing system I have a relationship with. But I also knew that I was really interested in African scripts. And not just because here I am, a black guy drawing type, but because I wanted to learn more about how these fonts are supported and how they were represented in the industry. And big surprise, there's a lot more support for typefaces or for languages that exist in so-called developed spaces than there are in incidentally poor black and brown spaces. And that's kind of obvious why. I mean, type drives trade, right? But I felt like what I really wanted to do was become part of this movement that is kind of happening right now. So there's fonts like Jamer Patel's Kegelia, which I think is one of the most important typefaces ever, and Google Fonts Noto, which are all trying to do a little bit more support for these. And I really felt like, yeah, I want to be a part of that. And I ended up, in my research, a lot closer to home than I expected. This is Surinam, which you can see is pretty close to Trinidad. And I was trying to head over to the Eastern Hemisphere. And Surinam is a country that's located pretty close to us by boat or by plane. But they have a similar history in terms of they have colonialization, they had slavery. But unlike Trinidad, Surinam has had successive waves of escaped slaves escaped into the South American rainforest. And I think it's just because the South American rainforest is pretty complex, and it's hard to chase someone inside of there. But what happened is that these people actually started to develop their own societies over a couple hundred years. And I was really interested in just historically these people. But what I learned was that there was one group of people who were relatively unassimilated called Injuka. And Injuka are currently a matriarchal society. Pretty good move. They're still pretty active. So you can learn about them right now. You can Google them. You can learn some of their language. You can learn about some of their culture. And they have a proprietary Creole language. A Creole, just like I use Creole in the linguistic sense, where it's a combination of languages that you then wrap with structure and grammar over years. And they had their own. And they also happened to have the only African writing system that was developed in the Western Hemisphere and in the post-colonial Caribbean. And I figured, well, definitely want to be a part of this. The language that they spoke was mixed between Dutch, English, and African languages. And I wanted to get into the story and the background a little bit. In 1908, an Injuka tribesman named Afaka Atumisi had a dream where God came to him, dressed as a white ghost as he's often want to do. And God told him that his people needed literacy. And over a series of a few days, he outlined a bunch of symbols that was meant to cover all of the sounds in their language. Afaka Atumisi had this for about two years. And on the eve or the night of Haley's Comet, he saw it as a sign. And he decided to start passing it on to his people. And they immediately picked it up, and they began using it. And this went on for a little while. Incidentally, it wasn't used like most languages are primarily for trade, but they started using it for journals, so the recipes, and their gossip, and their prayers. But the script's usage was ultimately doomed. Like most persecuted or formerly persecuted and assimilated people, Afaka's people were really wary of Christianity. And the reality is that Afaka was a Christian convert. The chiefs in his village decided that it was too dangerous to teach a writing system that could potentially be used to pass on Christianity, especially since they had their own religion. And I mean, these are people who 150 years ago ran away from slavery. They don't want to go back. And I think to them, Christianity sounded a little bit like slavery, which, you know. So because of this mixture of religious hesitance and this whole idea of tribal feudalism as well, because Afaka was of a lower class, then the chiefs would make these decisions. The script became eventually less and less and less used. It went on for 40 years, but that was about it. And now, there are about less than 15 users of the script. And I'm one of them, which is very, very crazy. But outside of that, there isn't really a chance for the script to be carried forward. I mean, you can only learn about it in academic journals. The most recent one is probably about 30 years old. But there's also no way to learn it. And I felt like there's a lot more interest in this happening among the people that are currently there and among the Caribbean linguistic community. So I figured, you know, I can make a font, right? I guess. And it's a special challenge a little bit. So what I did was I've referred to the Unicode first, like everybody should do. And what I learned was that Afaka is registered with the Unicode, but it isn't encoded. So there are two pending proposals currently, but it just hasn't been approved. And I kind of wanted to find out why. So I learned that the person who wrote the proposals was Michael Everson, who's done a lot of this type of work for other languages. And it's just like the nicest guy of all time. But the reason that it hasn't been encoded is because the script is registered as defective. Afaka is a syllabary, which means that every sound has to have a corresponding symbol. And as it is right now, because the language evolved a little bit past the written system, there aren't enough symbols to cover all of the sounds. And that means that there's a certain type of ambiguity. So this is a good example. In the written language, this is both in juka and juka. So there's no way to separate that sound that you get at the start. But the translation of in juka is a proud group of people who live on the Tapahone River, who ran away from slavery a couple hundred years ago. And then juka means jushit. And that's not gonna slide, right? So there has to be some way to be able to kind of solve for those problems. But I was initially a little bit suspicious of this idea of defectiveness, because especially in a Western context, because it just felt like an easy hole to poke. So what I did was I started doing a little bit more research and to figure it out. Like, maybe it is that there's some kind of system that we haven't really understood yet. And I think that my research, and then chats with Michael, kind of led to understanding that at the time the script was written, you could figure out what somebody means by the writing. So even if there is ambiguity, you're gonna be able to differentiate, but that would have been fine then, but it's just entirely too inaccessible now for that to be a current system. And the big thing about getting into these kinds of projects when you ask people, I wanna do non-Latin, they tell you like, well, first you need to talk to the native users, and then when you do some more work, consult the native users, and then right as soon as you're about to close up, talk to the native users. And I thought that this was a pretty good move because I wanted to get in touch, so I did, but they didn't know any more about that than I did. Which is a little bit tricky. But there is rules on terms of like, there's an alphabetical order. There are some formalized styles, but then there's some that aren't at all. And Michael was like, well, why don't you just go start drawing and you'll figure it out. And I was like, cool. When I started researching the manuscript, something that came to me pretty early was I realized that there were some manuscripts that looked really kind of like nicer than the other ones. And what I learned was that anthropologists, sometimes, well, no, always, white anthropologists, they would be so fascinated with the work that what they would do is they would add their own little embellishments to the forms and little bellies and little swoops, and I think it's obviously well-intentioned stuff, but I didn't really want to have to find too much of that. And I started sifting, right? So my big thing was at the end of this, if it looks too nice, then it probably just won't, like it probably isn't the right one if it's all super aligned up, and there's also Dutch writing next to it, you know? But yeah, it was hard. Surprise. I figured it would get super easy, but it didn't. I set up a little GitHub repo and I started drawing, but I realized that a big challenge was that some of the forms, just because I don't work in this language, were kind of hard to understand, so I started a little bit from scratch. And the first thing I had to do was kind of figure out how are these things drawn? So I basically started drawing each form by hand and figuring out, okay, which is the fastest way to get this done? That's probably how they would have done it. And then that kind of helps me figure out things like, you know, like stroke modulation and how the contrasts work. And I also knew that if I'm building this font, that I need to be able to work with Latin as well. So there has to be some kind of compliment. And I didn't have my own non-Latin knocking around, so I used SourceSans, which is low contrast. It's open source. So I was able to fork it and make my own modifications. And doing that meant that I had a reference for things like stroke weight and spacing. And it just saved me a lot of head work, ostensibly. There needed to be confirmation on things like relative proportions. There needed to be, I need to say, establish a baseline, for example. And some letters, there is a particular order that somebody letters had around them. And establishing that kind of made things easier as well. There was punctuation. Africa has limited punctuation, but they basically use a vertical bar to indicate the pause. So this pause could either be what we would consider a full stop or a comma. I guess it's really just a contextual thing, but there isn't really a way to differentiate it. There's an exclamation mark, which is that guy over there, which is kind of weird. It doesn't happen everywhere, but it is there for sure. I wonder if they just don't make exclamations very often. There's also this squiggly line, which I thought was some super elite typographic tool that they were using to kind of, this was the answer to solve all of those problems, but it was really just a show the bottom of the page because this was a still developing script, right? And you can kind of map a progress of it over time because you can see this is about 20 years apart, so on the left and on the right. And you can kind of see that there's a certain roughness on the left, and then things get a little bit smoother as it goes along. So these were the kinds of two groups that I was looking at a little bit. There's also Healey's Comet Glyph in this script, and I don't know if you guys have a Healey's Comet Glyph in your font, but you know, work on it. So when I started designing, I knew that my proportions had to be a little bit different to the Latin just because I want this to work next to it and I want people to be able to differentiate them and they are similarities in some of the forms. So in the O, for example, the O in Afaka and the O looks like the O in any geometric sans. The A sound looks a lot like the Latin A, so I wanted to find ways that I could kind of force the differentiation as much as I could. And because this script was in development, there are so many different versions of different symbols that have happened, so what I had to do was kind of log all of them, and that was kind of fun and exciting in some cases and considerably less so in others, because some symbols are just used indiscriminately, some are upside down, some are sideways, so there's a logic that had to kind of be pushed through, but the reality is that this was a script that was still in its developing stages when documented. I'm sure some of the people who were using it didn't know it very well. The three major styles, one of which is the anthropologists' drawing version, some of which are a little bit more faithful than others, and what I decided I couldn't do was ignore anything, so I basically drew them all, but I considered them in the idea of stylistic sets because that's kind of what they are, right? And after a few months, I was able to actually start making sentences and start seeing my way a little bit, but this is nice, this is good for archival stuff, and it's nice for people who might want to check it out, but if this had to be anything more than just a research project, something had to be done about these missing sounds. So some of them are just not reproducible, some of them are used interchangeably, but what I did was I did a Python scrape of the dictionary, there's an online dictionary, and this Python scrape kind of helped me figure out which sounds are really missing and which sounds are halfway accounted for, and the way that this kind of solution usually happens is that some hard-working linguists works with a type designer, and they interface with the community, and then they actually have a collaborative solution for these missing sounds, and I figured, well, that could be kind of cool, we could start looking at that, right? And there's a need for nasal modifiers, for example, so a nasal modifier gets you out of Jewish territory, and what Michael suggested basically was having a dot before character for pre-nasalization and a dot after proposed, but for me, I found that that was fine, but then it kind of got in the way of the texture of reading a little bit, so I figured, well, why not just put it at the top or the bottom, because there aren't any diacritics anyway. Same thing for the O sound, so the O sound has no way to differentiate sometimes between O and O, and I figured, well, why not just add a little bar on top of there or a Macron for the nerds, and then we can end up with actual nuance now, you know? The A and E sounds, they use really interchangeably just like the O and O sounds, but a lot of the A and E sounds are just, there's so many upside-down versions that I figured, well, just flip it for whichever one you don't have, and then we can at least know that, yeah, this is the differentiation, right? Because all I wanted to make sure and do was not make too much modifications to the glyphs that existed. The difference between is and is not in Alcan is differentiated in Latin by an accent, so that's the only way that you know, and in the script, there's no way to differentiate that, so it could be is or is not when it's written, so why not just add an actual accent? This is a language that has roots in Dutch, so why not just refer to those when we're building, right? And same thing, why not use the umlaut or the Dutch terse again for the nerds to help differentiate between the O and O sounds? That can be a pretty quick solution for where there isn't a differentiation, and these are people who are using Latin, definitely in all of their communication, so they should be familiar with diacritics, and if not, it's at least an easy way to implement it, and eventually I was able to start making sentences, and I still think it's pretty imperfect and a little hacky, but it's clearer than it was before now, and it's done now without the alteration of symbols, but just the addition of some diacritics and the rotation of some of the forms. I knew that using this, right, because it's pre-unicode, I had to figure out usability, and usability was a little bit of a challenge for me, and what I figured I could do, because this is the language that is written in Latin, what I could do is write some open type, so what I did was I wrote some open type and a little bit of Python to help me write the open type, but that means that now you can just like switch on discretionary ligatures and just type in Latin and then switch it over to Africa, if you'd like. But this isn't like, I feel like this isn't enough. The big win for this would be getting it encoded, and getting this encoded means that we need to interface with the community directly, so right now there aren't enough users to actively verify it, but I kind of figure that if anybody is to verify it, it should be them over me or anybody else, and I feel like they also deserve to have a certain amount of input on this, because this is part of their legacy. So I used Drawbot again with Python to make some tools, and one of the tools was a little bit of a proof sheet, so I sent them like basically PDFs that we generated that allow them to refer to a shape and say, oh, this is cool, but I also have other shapes next to it, so there's a point of reference as well. And if we're using Python to generate things, and we're using Python's grapes, then we can also make like little flashcards that you can actually use now to learn the language, and this is just a matter of scraping the website that there's a dictionary for, and then using combination of Python for typography and discretionary ligatures to switch over to December. But I also like, I wanted to differentiate the fact that this is a syllabary, so you can kind of read it a little bit easier because each syllable is color-coded a little bit. This is a good time to talk about cultural erasure and colonialization and stuff, but the reality is that this script wasn't diminished by colonialization. If anything, this script is a response to colonialization. It was discontinued a little contentuitively, I think, because they wanted to have their own thing, and I think their own thing to them was just not having a writing system because they didn't want that potential for missionary work, and I think it's also a kind of an active resistance to European imperialism, which is, you know, a good thing to resist, I think. But the times are different now, you know, and I feel like these people have a chance to actually make a decision on this, and this is a pretty important linguistic artifact, if nothing else. So the project is licensed under the OFL, which means that people can fork the project when it's released and they can make their own modifications. I will take pull requests. They could also access the code and do stuff like this on their own, and it's free, and it's for public modification and use. I feel like it is no way to deny that what we do is service capitalism. I mean, if we're thinking that we're not, we're lying to ourselves, right? But I also think that it's fine to admit with that acknowledgement comes a certain ability to make change, and I'm not saying that we should leave here and we should start charities or anything like that, but I'm saying that some work won't get done unless somebody does it. Toni Morrison said that you should draw the fonts that you want to see in the world. She did. No, she did. She said that you should write the books that haven't been written if you want to read them, and I mean, that is basically what I tried to take from it myself. I feel like one of the ways that the developed world can offset the massive cost of its advancement to everybody else is to try and find ways that it can include cultures that may have been swept under the rug or very forcibly erased.  Maybe your next font could support some kind of underrepresented script. Maybe you can help someone send a message in their own language, which is a really special thing. And I think it's a really good test of your skill and it would be a good test of your sanity and it would be a good test of how far you really want to take this type design thing, but I think everybody should try it a little bit at least once. So I think my closer with this is what everybody here, which is what are you going to make? Thank you.


Daniel Dianou, thank you very much for being with us. You're the former finance minister of Romania and a member now of the Board of the Central Bank. The euro is another euro crisis inevitable and if so How can it be remedied? It may be that we will experience any episode of crisis of recession in the global economy And that's going to have an impact on on the European Union on the euro area We I think Economic recovery is not proceeding at the pace we are been hoping for and but there is sort of an economic recovery On the other hand one has to acknowledge that it's taking place against the background of unconventional policies So it's not like we're almost permanently low interest rates and very low interest rates ultra low interest rates unconventional policies practiced by the ECB but other central banks in the Union and We can't just say we are we have seen the light at the end of the tunnel because these unconventional policies are prevailing and They One cannot say they do epitomize the new normalcy when it comes to What should be done? We do it because we have where the ECB has to do to practice it But there is already a mounting a mounting a quantity of easing as well as that it's not just no interest rates It's not it's not only ultra low interest rates and in addition ultra low interest rates are not Do not have the main driver in the central banks policies They are driven in the main by structured trends in the global economy. They are linked with demographics with income distribution with Productivity gains the dynamics of productivity gains this why we're talking about secular stagnation and but but central banks have been trying to avoid deflation the very bad combination of non growth and As inflation a Japan crisis basically exactly that's that's the lesson from when you come here to our policy conference And you talk about these problems Do you find it useful now that it's very useful because we not only that it's not about meeting old friends or new friends It's about discussing hot topics and it's useful Because we are still sailing into uncharted territories that we're still looking for the Royale and and and This is the way To try to find the optimal the optimal path the optimal path forward as I said People have to acknowledge that we are still in the realm of unconventional policies It's not like we have an economic recovery on the way and that's it. No, that's not accurate We are slow. Let's hope that we find a way some with Thanks to people like you to a happy destination. Yeah, and hopefully and hopefully we'd be able to maintain relatively open global economy because the rise of protectionism and that could fragment terribly the global economy and could Further further diminish The power of economic recovery then you're done you thank you very much indeed


Hey, everyone, welcome to theCUBE's coverage of the International Women's Showcase for 2022. I'm your host, Lisa Martin. I'm really excited because for the first time in my CUBE career of six years, I have a father, daughter duo, maybe the first time in CUBE's history, Frank and Emma are Rigo from AWS doing me. Guys, it's great to have you on the program. Great to be here. Thank you. So Emma, let's go ahead and start with you. Talk to us about how you got to AWS and a little bit about your background. Yes, thanks, Lisa. So I've joined AWS as a recent graduate from university. So I did my master's of data science and I was going through the grad job hunt applying for all these different places. And AWS appeared on my radar for an intern program and Frank was there at the time. And so I was like, should I do it? But I still applied because it was a great program. And so I did that internship for three months over the summer of 2019, 2020. And then I went back and finished my degree. And another grad role came up in AWS in TechU to be an Associate Solutions Architect. And so I was approached to apply for that. And I got through to that program and joined the team almost a year ago in March, 2021 through TechU. And yeah, that's how I ended up at AWS. Excellent. And so Frank, this is a pretty unique situation. Father, daughter duo at AWS, little on Amazon, little on probably a lot of companies. Talk to me about it from the parental lens. Yeah, look, it is unique. There's a few family connections within AWS but definitely here in Australia, it's really rare. But I think the family connection is, Emma and I've got four kids I've got four kids in total, so Emma has three brothers. I've lived in tech my entire career. And so they've been part of it. We've lived in the States, lived in Seattle for a couple of years. And so they come to the office and see what dad did. And so it wasn't a big surprise for them to understand what the role was and what we did. So they kind of grew up with it. And when the opportunity came up for Emma to do the internship, I was excited for it because it was in a different area. I was working in a startup team, doing some interesting work that really lined up with some of the interest Emma had. And so she kind of learned what it was like to be Amazonian through that internship. And that was, I called that a long audition for a job and she was then able to join TechU program which is a early career bootcamp. I like to think of it, which the six month program to help our grads learn some of the fundamental skills because the value of a solutions architect or some of these other tech roles is you need experience. You need to have been in the game a while to be a trusted advisor to a customer.  So the bootcamp gives them the practical experience and then they get another six months on the job experience where they develop those skills and hone it and get ready to be a trusted advisor to the customers. Right, and that's such a great, I'm sure that's a tremendous opportunity to learn how to become that trusted advisor, especially from peers such as yourself. And I want to go back to you, talk to me about your interest in IT and data science. Was this something that you were always interested in as a in primary school or in high school or was this something that kind of came on later on? It's my interest in tech kind of emerged as I went along in my education. So when I was younger, I really wanted to be an orthodontist for some reason. I don't know why. And then you just sort of in year eight and like early high school, sort of didn't really know what I wanted to do. Just sort of going through, just trying to survive as a teenage girl at high school and an all-girls school. Didn't really have many, didn't really have career aspirations, I guess. But I, and then one year, I attended a information day at a university about engineering. And that just really sparked my interest. I don't know why, but I was like I've always been obsessed with like factories and those types of things and how things are made. And so that really just sparked my interest and I never really thought of it before. And so then that put STEM engineering on my radar. And then I guess I spoke with it about with the parents. And then they mentioned that tech would be like, IT information technology would be really useful. And so then we approached the school to ask if I could do IT in year 11. So that's sort of our second last year of high school. And they said, no, we couldn't do IT. I couldn't go to the boys' school to do IT. That girls don't do IT or that not good at it. And I was another, and they wouldn't let me do physics either. So I moved school for the final two years of high school to be able to do IT and physics to help get to the course I wanted to do. And so that was my journey into STEM. So it wasn't really on my radar, but then events like this and at universities and at organizations sparked my interest. And then still when I entered university, I didn't know exactly what I wanted to major in or where I wanted to work, would never have thought it would be where, with my father. Like I was aware of the world of IT and everything, but I wouldn't, if you'd asked me in first year, it wouldn't have been that. I would have said, I don't know, an academic or something, I don't know. And then, but again, as the university went on you got 10 networking events or club things. You sort of learn a bit more about the ecosystem and then that's where tech companies sort of became where I was looking for jobs and roles for when I finished up. So that was kind of my journey too. So I love though that you, and Frank, this is gonna be a question for you, how Emma was told, no, you can't study IT. No, you can't study physics. You can't go to the boys' school and do that either. Talk to me about that, Frank, from your perspective as a parent of a daughter. And you said, I think she's got three brothers. Lucky Emma. But talk to me about that from your perspective in terms of going, my daughter has really, has a strong interest in this. And they're telling her, no, we're gonna pivot and actually change schools to be able to give her the opportunities that she wants to pursue. Yeah, as a parent, we were shocked. It was just an unexpected response. In a lot of ways, the school that she was at was more of a finishing school than anything else. Preparing young ladies for marriage and career as a, I don't know, I believe it at that. So we were really disappointed. And so very quickly, we looked at other alternatives and other options and we pulled Emma out of school. And we knew it was like the last two years are critical in Australia. We don't have a middle school and a senior school. It's all one, you know, combined thing. But those last two years are all about getting ready for university. And so we made a really tough call and we picked her up, dropped her into a totally new school. It was co-ed school.    Because I felt back in my career and I had some amazing female managers, leaders, role models in my time that, you know, that I worked for and I followed.  And I just couldn't believe it. So as parents, you know, we made the tough call we picked Emma up, we put her into another high school and she flourished.  When she graduated, the teachers felt that she'd been there six years, right? You know, it's the whole time of it. So she really made a mark and made an impact at this at the school and so much so that her younger brother then followed and went to that school and completed his high school there as well. But it's, we just can't believe it. And we tell everyone this story. You know, we named the school, we won't name, we'll choose not to name them here, but we named the school because we just think it's really terrible guidance and terrible advice. You know, like we want people to follow their passion. I tell my kids and I tell the folks when I speak to, you know, early career folks, follow your passion first. Guess what, the job will appear, right?  And then the second piece that I always say is every future job is going to be a tech job. Technology is embedded in everything that we do. So the fact that you say a girl can't do technology, you're limiting yourselves, right? You don't want to think that, you want to think about the possibilities rather than the things you can't do. It's the things you can do. And the things that you haven't even thought about doing. So that's why, you know, it was so exciting to see that experience with Emma and just seeing her grow through that. And, you know, she become a bit of a STEM advocate at the university, at a high school as well. So she saw the value of her role model that helped her and she wants to continue being a role model for others as well, which again, I think is admirable, right? It's about shining a light and leading. And as a parent, irrespective of that we work the same company as a parent, that's what you want to see. You want to see your kids aim high and inspire others. And, you know, that's what she does. Well, she's already been a role model to you. Gary, I mean, to your younger brother. Yeah, totally. One of the things that we say often and theCUBE does a lot for women in technology events and I'm fortunate to get to host a lot of that is we say, you can't be what you can't see. So needing to have those role models who are visible. Now it doesn't have to be female necessarily. And Frankie mentioned that you have female mentors and role models in your illustrious career. But the important point is being able to elevate women into positions where others can see and can identify, oh, there's a role model. There's somebody that might be a mentor for me or a sponsor down the road. That's, it's critically important. And as of course we look at the numbers in tech, women in technical roles are still quite low. But, Emma, tell me a little bit about, you've been to the program, you talked about that. What are some of the things that you feel in like the last six months that you've been able to learn that had you not had this opportunity, maybe you wouldn't have. You know, I think that's a great point. As a solutions architect, I get to be both technical. So hands-on building in AWS, helping customers solve their problems. Whether it be a data lake or an image recognition tool to look for garbage dumped on the street or, and also thinking from the business perspective for the customers. So that's a fun part of the role. But things I get to do. So currently I'm working on a demo for the conference in Sydney. So I'm building a traffic detection model using some computer vision and IoT. So I get to bring my data science background to this build and also learn about new areas like IoT, internet of things, technologies. So that's been a really fun project. And yeah, just having the ability to play around on AWS. Right. Well, the exposure and the experiences is priceless. You can't put a price on that, but being able to get into the environment, learn it from a technical perspective, learn it from a practical perspective. And then of course get all the great things about getting to interact with customers and learning how different industries work. You mentioned you were in public sector. That just must be a field of dreams, I would imagine in some senses for you, right? Really have lucked out. I know it's, I'm like, wow, this is my job. My job is to play around with some new service just because I need to know about the customer meeting. Like I'm building a chat book for helping build a chat book for a customer university. So yeah, things like that make it very, yeah, it's a pretty amazing role. So it sure sounds like it. It sounds like you're excelling at it tremendously. Let me ask you, Emma, for young girls who might be in a similar situation to where you were not that long ago with the school telling you, no, you can't do IT. No, you can't do physics. So you actually switched schools. What would you tell those young girls who might be in that situation about hearing the word no? And how would you advise them to embrace a career in technology? Yeah, I would say that it really like just, like what makes me so sad is if I had, my family didn't know about tech and had my support of me through that. Like if I would have just gone, oh, okay, I won't do it. You know what I mean? Like that just makes me really sad in how many people have missed out on studying what they wanted to study. So by having those types of experiences. So what I would say as advice is back yourself, find supporters, whether it be your family or a teacher that you really sort of connect with to be able to support you through these decisions. And yeah, I think having those sponsors in a way, the advocates to help you make those choices and help support you through those choices. Yeah, I agree. And I have a feeling you're gonna be one of those sponsors and mentors. If you aren't already Emma, I have a feeling that's just around the corner for me. So Frank, last question to you. What's the overall lesson here? If we look at statistics, I mentioned some of the stats about women in technical roles is usually less than 25% globally. But also we see data that shows that companies are more profitable and more performant when there's at least 30% of the executive suite it's women. So from your parental perspective and from an Amazonian perspective, Frank, what's the lesson here? Well, look, from an Amazonian perspective, we need to make sure that we have a team that represents our customers, right? And our customers aren't all boys. They're not all blokes, as we say down here. So you've got to have a team that is made up of what represents your customers. So I think that's the Amazonian view. And so diverse perspectives, diverse experience, diverse backgrounds is what does that. The other, from a parent, I said it earlier, I think every future job is a tech job. And I think it's really important that as kids come through primary school, high school, whatever, they're prepared for that. They're already consumers of technology. They need to be creators or participate in that environment. And I can give you an example. A few years ago, I worked at a large telco here and we actually invested in a thing called Code Club which was aimed at primary school kids, kids in grade four, five, and six. So elementary school for my friends in America. It's kids in grade four, five, and six. And they were learning how to use scratch. Scratch is this interactive tool, it's like building Lego to write programming. And believe it or not, there were more girls interested and were part of Code Club. It was probably 60-40 was the ratio of young girls doing it compared to boys because it was a creative outlet. They were building stuff and assembling and making these things that they loved to make. But then what we saw was there'd be a drop-off at high school, whether it's curriculum related or interests or distractions. I don't know what it is, but things get lost along the way along high school. But I see it at the primary school stage, elementary school, that the interest is there. So I think part of it is, there needs to be a bit of a switch-up in education or other opportunities outside of school to really foster and nurture and develop this interest because it really does take all kinds to be successful in the role. And Emma talked about a chatbot that she's building, and that's a conversational thing. I can't see geek boys having, being able to impact and create a interesting conversation, right? Then there's other areas that seems to be skewed and biased based on a predominantly male view of the world. So the industry needs these diverse perspectives and these diverse views because to your point, it's gonna impact the bottom line. It's gonna also deliver a better product and it's gonna reflect society, it's gonna reflect the customers that are using it because we're made up of every race and color, creed, gender, and we need a team that represents that. Exactly, I couldn't agree more about it. Sounds like the Arrego family are quite the supporters of this, but also we need more of both of you. We need more of the sponsors and the parents who are encouraging the kids and making the right decisions to help them get along that path. And we need more folks like Emma and more women that we can see. Wow, look what she's doing in such a short time period. We wanna be just like that. So you guys have both been fantastic. I thank you so much for joining me at the International Women Showcase. More power to your family. We need more folks like you guys. So great work, keep it up. Thank you. Thanks Lisa. For Frank and Emma Arrego, I'm Lisa Martin. You're watching theCUBE's coverage of International Women Showcase 2022.


Funny. Let's graph the following function. I provide x is equal to let's go x over x plus 2. Do you want to x over x plus 1? No, let's go x over 1. Let's make it simple. We just want to look at the limits, right? So we're going to go, I wrote down x again. Let's go 1 over x plus 2, right? Uncharted days, how are you doing? Use Wolfram. Yeah, use Wolfram too. Hey Chico and Chad, hope you had a happy holidays. You too, you too as well, and happy New Year Uncharted days. So let's say we want to graph this, right? Graph this function. So the steps are the same, right? So first of all, you factor. If you're looking at a function, factor. Well, we don't need to factor this. It's already in simplest form, factored form. Then what you do is you find your restrictions. Both vertically, well, let's say you find your restrictions. We'll talk about asymptotes and stuff. So our restriction in mathematics is no dividing by zero. Really, that's the only restriction we have in mathematics. Uncharted days, if we have any more, let me know. But as far as high school mathematics is concerned, and they say restriction of no taking even roots of negative numbers, but that's not a restriction, that's dumbing down society, right? Induct like slowing down education, right? They used to teach it to us when I was in school, complex numbers, but they don't anymore right now in my part of world, right? So the only restriction we have in mathematics is no dividing by zero. So what you do, whenever you have rational functions or any type of function, you look at the denominator and if you can't divide by zero, then you say the denominator cannot equal zero, right? So this part, x plus two cannot equal zero, so x cannot equal negative two. That is your restriction for this function. So now that we're starting to get values, numbers, let's generate our graph. So here's our graph, right? Cartesian coordinate system, here's our x, here's f of x, which is really your y, and x cannot equal negative two. So here's, here's negative two, and what does it mean? x cannot equal negative two. Well, what you do with that is you say what's your asymptotes, right? So for the next thing you do after you find your restrictions is you find your vertical asymptotes. Your vertical asymptote, if x cannot equal negative two, your vertical asymptote is x cannot equal, x equals negative two, so vertical asymptote, right? It's just terminology, right? And gang, don't forget, freeassange, freeassange, freeassange. Julien Assange is a publisher and journalist that has been crucified for trying to bring transparency and accountability of capitalist power to humanity. For more information, see our Julien Assange and Wikileaks playlist. Marco Ciccio specifically, can you inform me on how to use limits to solve for horizontal asymptote? I'm going to show you right from here, right? You're going to see what limits means, right? So x equals two is a vertical asymptote. So this is, an asymptote is basically a boundary that your function cannot touch or cross, right? So your function can't equal x is equal to negative two. That means it can't, this is a no-go zone, this is a line, right? The universe explodes if you try to touch this line, okay? Now, that's your vertical asymptote. Your horizontal asymptote has these three things you have to consider, right? If you have a rational function, f of x, if you have ax to the power of n, the highest power, the degree on this thing, over bx to the power of n, the highest power in the denominator, okay? What you do is you say if n is greater than n, if the power up top is greater than the power in the bottom, if the degree, the highest power on the x is greater on top than it is in the bottom, then there is no horizontal asymptote. No horizontal asymptote. If n is equal to m, if the power up top is the same as the power in the bottom, then the horizontal asymptote is the degree in front divided by this degree, right? So the horizontal asymptote is going to be y is equal to a over b. And if the degree up top is smaller than the degree in the bottom, focus, focus, focus, focus. If n is less than m, then the horizontal asymptote is y is equal to zero, which is the x line, right? Which is the case that we have right now. Gang, thank you for the follows, by the way, and subs and donations and bits and stuff. If I'm missing them, I apologize. I just want to make sure I don't make any mistakes, no brain force while I look here and look here, right? So what we have here here is a horizontal asymptote. That means y, this is y equals to zero, the line y equals to zero. That means f of x can never be zero, which should be intuitive, right? Can you plug anything in for x to make f of x equal to zero? No, you can't. If you set x is equal to zero, that's one over two. Well, when x is zero, y is one over two, right? I really need to get better with mathematics. This just goes over my, does it on charger days? It's, once we start putting points on here, you'll see how this plays out, right? Now take a look at this thing. Now we need to graph this thing, right? We got our vertical asymptote, that's a no-go zone. We got our horizontal asymptote, that's a no-go zone, right? So what we have here, okay, is the boundaries of this function. And that's the way you start graphing a function. You find the areas that you can't go to, right? No-go zone, no-go zone, no-go zone, no-go zone. We got two of them, right? Then what you do is you try to find some key points, okay? First of all, we could do a table of values if you want. X and f of x, right? Let's do a couple of table of values. Now, we don't have a no-go zone when x is equal to zero. So let's find out what the y-intercept is when x is equal to zero, because that's negative one, that's zero, that's one, that's two, and etc., right? So let's find out what f of zero is. When x is zero, f of zero is going to be one over zero plus two, which is going to be one over two. Cool. So when x is zero, y is one over two. So if that's one, we're here, right? That point is on this graph. Now what you do is you ask yourself what happens to the function as you approach this asymptote, right? Now, the limits what you can do is we'll do it by point, right? But that's where calculus comes in, because calculus sort of gives you the behavior of a function that defines it better, right? So let's assume we're here, and we're going to start moving towards this asymptote. So let's find out what f of negative one is, right? So what we're going to do, we're going to go f of negative one is equal to one over negative one plus two. Negative one plus two is one, so this just becomes one. So when x is negative one, y is one, right? When x is negative one, y is one. Cool. Now, one of the properties of a function is when you're graphing something as asymptotes sort of act like magnets. If this is my function coming towards an asymptote, the function either does this because this sort of acts like a magnet pushing it, pushing it, pushing it, pushing it, right? The function comes like this, it either goes like this, right? Because it can't touch it, right? Or it comes in and goes like this, dives down, or comes in and does a, right? There's a couple of other things it could do too, right? So without calculus, you can only precisely estimate what a value is at a certain point. No, we're actually finding the exact value right now, right? We're actually finding what y is exactly when x is equal to negative one, right? And then what we do is we can get closer and closer to negative two. We can just put points here, points here, points here. But what's going to happen is basically this thing is going to shoot up, right? So what you can do is you can write it like this. You can say f of x as x approaches negative two from the positive side, right? Let me write this bigger so you see it, right? It's sort of terminology. Again, mathematicians are the laziest people on the planet. They create little symbols to figure things out, right? So if you've got a function, this function right here, as x approaches negative two from the positive side. So what we're saying is if we're on this function, we're going to approach negative two from above negative two. What is f of x equal to? Well, y goes up, up, up, up, up, up, up, up, up, up, up, up. It equals infinity. It goes forever. So it's going to be infinity, and you can say positive infinity if you want, because sometimes it might go down and become negative infinity, right? Now check this out. What happens as you go this way? As x gets bigger and bigger, so let's say x is two. If you sub in x is two, f of two is equal to one over two plus two, which is one over four. So when x is two, you're at a quarter. And because an asymptote, again, even a horizontal asymptote acts like a magnet here, let me put this down. So if this is a horizontal asymptote and we're coming down to this, this thing keeps on pushing up, pushing up, pushing up, pushing up, pushing up. It'll go closer and closer to this asymptote, but it'll never touch it, right? So what this means is this function goes like this. Why does it do that? Because no matter how big an x value you put in for x in this function, the bottom is going to become bigger and bigger, and one divided by a huge number is going to be really close to zero, but it's never going to be touching zero, and it will never be negative, right? So we're good on this side of the vertical asymptote. And what you want to do whenever you're graphing functions is you want to find out what's happening on either side of vertical asymptotes or holes or whatever you have, right? So you're mainly concerned when you're graphing something. The zones that you're going to look at are the x restrictions that you have, right? So vertical asymptotes that you have. So we know what the function is going to do on this side, and we know the function is not going to be here, otherwise it wouldn't be a function, right? Hello, Chico. How do you... How do you do? I do well. Thank you. I hope you're doing well as well. Happy New Year for Jamaica. Right on, Jamaica. Happy New Year, brother. Happy New Year, brother. Infinitesimal. It becomes infinitesimal. I hope you guys are having a nice warm Christmas here. You can hear the rain. It's gotten wintery, right? So we know what's going on on this side. Let's see what happens on this side, right? And by the way, the other way you could write for this is f of x. What happens to f of x as x approaches zero, right? Not, sorry, not zero. As x goes to infinity, right? As x goes to infinity, as x gets bigger and bigger, right? f of x approaches zero. Now, what happens as you approach negative two from the negative side, from this side, right? Is it going to go like this or is it going to go like this? Let's check it out. So let's find out, let's pick another integer closest, the closest integer to negative two, okay? No mods in the chat. Elder God is here. Yes, but how do we prove that using limits? How do you prove it using limits? This is sort of the proof. I don't know if it's, you call it a proof. What kind of proof? Oh, you're thinking about doing calculus in terms of, oh, okay, I'll show you, okay? I'll show you after we look at what the function does this way. Okay, you're talking about calculus, doing the first fundamental theorem of calculus, so we'll do it, okay?


ༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀༀ ররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররররর two people called and soon the ours proved dead.  Si , si , si. These effects as it be, tomorrow they will save the energy industry from the üzppy to yahorn un know the use of these energy rendering as well? Si, si. Do they still have齐umash hungry for you? Si , si. यह स्वाँवरखष म� Nike, décide phon kabra hai, complementa Nanal means after consent तश़्ह ने के लिओुए के काती ना की निया थे? मेरे हुँ थानी कझा सोभेचा छाँवर से हो उपने रही है सचनीगत हुँ तीक़ सो स emblem of that तो वह धाननी सात मै� minersआ linkorgrep नाश्बिज़ग� guide


Greetings to you on the occasion of the International Open Education Week 2016. It's that time of the year for us to collectively reflect on our various efforts to promote open education in a very diverse and uneven world. At the Commonwealth of Learning, we believe that learning is our common wealth and for that reason, it must be open and shared. Commonwealth Heads of Government established the Commonwealth of Learning or CALL in 1987 to create and widen access to opportunities for learning by promoting cooperation between educational institutions throughout the Commonwealth, making use of the potential offered by distance education and technologies. CALL's mandate is to increase access to quality education and to promote a collaborative culture among Commonwealth institutions. CALL created free content on teacher training well before the term OER was first coined. CALL was the first intergovernmental organization to adopt an OER policy in 2011 and CALL played a leadership role in organizing the World OER Congress with UNESCO and the Hewlett Foundation in 2012. We strongly believe that the open education resources movement is an important milestone in democratizing education in the 21st century. Now, what does open education mean to us? Let me highlight four key aspects. First, openness is a way of increasing access to learning opportunities. Promoting openness means increasing access to education for those who need it the most, such as the underprivileged and the marginalized and we have been supporting this through the Open University systems. Second, openness is about flexibility and freedom. The flexibility in entry requirements and the duration of study empowers learners to achieve their objectives in their own time while not compromising the quality of their education. This freedom complements the flexibility by breaking down the confines of time, geography and medium whereby learners have the opportunity to study according to their circumstances and CALL promotes openness in formal, non-formal and informal learning covering the entire spectrum of lifelong learning. Third, openness should lead to open courses and curricula. The system cannot be truly open if the learners are strapped for choice in terms of what to study. An open system allows learners to mix and match courses to create their own personalized learning experience. Openness is about avoiding duplication and the OER movement provides the opportunity to reuse, adopt and adapt materials without having to reinvent the wheel. CALL materials are published under open licenses and an increasing number of our partners are doing likewise. Finally, we at CALL believe that openness is about continuous improvement. The true claim to openness can only be justified when an institution is constantly looking for ways to improve its policies and practices to provide the best service to its students. In short, we believe that openness is all about creating a lifelong learning society which is the key to sustainable development. No one can do this alone. Let us join hands to achieve this worthy goal. Thank you.