I'm Eleanor Bauer. Thank you for coming. We should start because I'm being asked to finish on time and I did prepare a 45 minute talk. And I would like to have time for talking afterwards also. Maybe a mic stand will arrive momentarily, but until then it'll be this style. I just wanted to, there's something that came up after watching, attending last night's lecture. First I should just start by saying thank you to IETM for having me here. Thank you to especially Alessandro Simeoni who suggested that I propose this talk in the first place. And thanks to Eric Corin yesterday and Geekyapens and Annie Bozini for doing a lot of the dirty work so that I don't have to stand here and define populism for all of us. Yeah, I have some written stuff and I have some free jazz. So it'll be in and out of reading. But one thing we have to address is vocabulary, obviously. The words, how we use them, including the word concepts of identity, nation, culture and populist or populism or populist. I just want to remind us that language is inherently evolutionary. It is the original open source code in the sense that each one of us who uses a language is also a developer of it. So it is very, very important how we speak and the words we use. The words populism, nationalism or nation and identity are complex and messy and have been used in very different ways historically. Like the left saying right now like populism is bad, identitarianism linked to nationality is bad. Yes, I agree. Like culture as we link it to bacteria maybe is like a free and open and messy thing that evolves in a very kind of person to person like open source way, let's say. And it's not, but of course there's structural institutional forces that determine norms. But each one of us is a link in the node and has influence of how those things are shaped. I just have to, it's very tricky. It's easy to say like we need to disidentify culture from nation for instance. To say nations, borders, nations need to conceive of themselves in a more pluralist sense and to detach identity from nationality is an important first step. Like that would be the logical argument in a sort of leftist pluralist agenda, which is my agenda. But we have to remember also that the function of a nation historically has not always been the same thing and to equate nation and identity has been not only a colonial force or a force of maintaining power or a face of erasing difference as in the institution of a dictionary or a national language that erases micro dialects and et cetera, but it's also been used to liberation like for liberatory means. Like for Haiti to declare a national identity to free themselves from their colonial power was a necessity for instance, I mean to name one. For nation states to form democracies to free themselves from feudalism was a necessity. So it's of course like it's real that that nations do participate in the forming of our identities and yeah. So and there's still institutions that are nationally funded artistic institutions. EU funded, city funded, all of these like outlines of where identity is shaped are important and we're all participating in them. So in a way that can't be completely discarded but they have to be questioned of course. Anyway, that was a little free jazz. Yeah, so it's up to each and every one of us to redefine these terms like nation, identity, culture, populace and to be part and parcel of the change we would like to see in the world in relation to language drift but also in relation to just the world as it is changing. Poet Charles Bernstein in an interview with Curtis Fox on November 6th, 2018 for the Poetry Foundation said, the world is not a given, the world changes based on our descriptions and projections of it. What could be a more accurate statement given the so-called post-truth social climate we are living in? The world is not a given, the world changes based on our descriptions and projections of it. The traumas and ruptures of the post-truth era are exposing the holes and tears in the fabric of our co-constructed reality. As long as the left holds on to rationality as the only way to save truth and accuses the right of emotional propaganda, we allow populist movements that have no concern for the populace to use the division between the elite and the excluded to pretend or between the rational minded and the emotional, the governmental and the actual social, these false divides to use those false divides to pretend to give the excluded a voice. Artistic practices, social practices and discursive practices that listen to the murmur of the multitude with exactitude are what are needed now. And that is as much about how we listen as it is about how we speak. In a call for sensitivity to complexity, chaos and emotional intelligence, my talk unfolds the relation between nonsense, nuisance, like trouble to cause trouble, provoke nuisance. And new sense. And new sense, as well as other axes along which artists and other cultural workers can promote a more pluralist conception of the populace. I want to address questions of the art and the age of populism conference in relationship to the divide between rationality and emotionality and public discourse among other non-helpful divides that hinder the complex pluralist populist poetics. Rationality is but an island in the totality of human thought and understanding. The history of democracy as noted yesterday in Eric's talk from the Enlightenment to the Industrial Revolution has favored rationality as the guiding force of democracy. But it is certainly not the only faculty at our disposal as humans capable of understanding other humans. And it is most definitely not the primary faculty being exercised and trained by most humans today in the highly effective and emotionally driven attention economy which I will talk about later. How can intelligent public discourse include emotions and rationality in a non-binary and inclusive mode of understanding through respecting various media of thought which I will also address later. Chantal Mouff has pointed out that one of the failures of the left has been to the failures of the left has been to exclude passions from politics favoring rational argumentation over emotional persuasion and propaganda. It is necessary to include emotional intelligence as well as other forms of understanding all of them through all of our senses. Not just to gain political influence but to actually be able to understand each other and to live in a world populated by many others and of increasing difference. Increasingly loud and visible differences. How can the arts bring us closer not only to imagining a better future as mentioned yesterday, but to sensing more accurately and acutely with all of our sense faculties and sense-making faculties the reality we already inhabit. For how could you imagine a change project without an adequate assessment of what is as it is? To embrace the whole complexity of the populace without masking contradictions and misunderstandings without simplifying and reducing struggles calls for radical interdisciplinarity and I don't mean like some fetishized interdisciplinary of the art world like a multimedia show with video and singing and whatever. I mean radical interdisciplinary like really embracing different media of thought, different ways of thinking, different schools of thought and that they necessarily have to make efforts of translation or understanding what could be the conceptual frameworks that can hold these differences together. A radical interdisciplinarity that respects all forms of communication and sense-making. Each of us embodies a pluralism of senses and sensibilities. Each of us is a many in one who assumes a different role or identity according to the different groups and networks we move within and each one of us is changing. To adequately recognize each other as such requires an anti-identitarian, multi-sensory and multi-level approach to ourselves and to each other not just a multi-level approach to politics or to the city or to the nation but a multi-level approach to the many in one that is each and every one of us. When different registers of sense-making from the aesthetic and sensual to the social and cultural to the scientific and technical to the effective and emotional and et cetera are acknowledged and respected as a necessary pluralism of the senses then we can begin to think about pluralism not only in terms of identities but in terms of faculties which cut across demographic orderings. Am I speaking too quickly or are we doing okay? Too quickly? It's like it's recorded and live streamed. I can send you the PDF. Questions? Well, we got so little time and we started late, I'll do my best. Within each individual is also, I'll repeat a lot of stuff too. Within each individual, just listen, let it wash over you, it's good. Within each individual is also a population of minds equally present with or without having a voice. How can we think through our own cognitive effective pluralism as a first step in undoing cognitive biases and troubling cognitive dissonance? Are we familiar with the concept of cognitive bias? It's what you don't see because what you see is what you already know. This idea, it's not about pattern recognition but your recognition patterns like how your learned behaviors and everything you understand about the world frame and structure what you can still understand about the world, basically, cognitive bias and cognitive dissonance is when something confronts your world view that's already structured is dissonant with what you already understand and most of the time, there's a lot of perceptual studies thanks science that we really don't even see what we don't understand a lot of the time. What we don't already know is practically invisible to us consciously. That's a gross over generalization of what is more nuanced, obviously, in the perceptual world but you don't have time. So how is pluralism of media of thought? Media of thought is a concept I will unpack later. A model to approach other scales of silence and visibility, coherence and non-coherence. How can pluralism in thought bring us closer to understanding the complexity and messiness of experience of each other and of the world? The first issue or word concept I need to address is identity. In a round table hosted by Spike Art Magazine in Berlin on the 21st of April, 2017, between curators Heidi Ballet, Chris Durkin and Turdad Zolgdar. I don't say his name well, Zolgdar. I need to look that up. When Chris Durkin expressed his fear of the art world regressing into some 90s identity politics when they were talking about diversity and curation, Chris Durkin said, oh no, what do you want to go back to 90s identity politics? And he was kind of like squirming about that. And Turdad said identity politics are not an end but a necessary means. The identity of the artist is not the meaning of the work, but one means to understand it and above all a necessary consideration in the curation of who speaks to whom about what. Otherwise, how will we ever get beyond the persistent bias in Eurocentric North American Western traditions of art, philosophy, science and literature in short any form of authorship or authority that allows authors of a certain color, white, gender, male and sexual orientation straight to speak about the world as if from a neutral and invisible position of clairvoyance and genius and assumes that everyone else is busy with identity politics. This is, no, this is very important. I would like to make note here of the last question in the discussion after yesterday's keynote speech when asked how a white cisgendered heterosexual man will prepare themselves for a more pluralist and diverse conception of the populist. First, the question was watered down to what place does the innocent white male have? And then the answer was more or less with recourse to Marx that the oppressed are responsible for the revolution, not the oppressors. Both of these moves were complete and utter cop out with all due respect to both Guy and Eric to the real questions at hand, which are how will the white man prepare himself for true diversification? We're facing, it's a very serious issue right now because sexism, racism is as hard for white men. It's not nice to be put in that position for men who don't want to assume it as hard as it is for other people. So it's all of our job to deal with this. And it is also, it's a real problem today. Stieglitz, the economist Stieglitz in his book, The Great Divide, he talks about the erasure of the middle class and how this expectation that white men had graduating from school that they should assume positions of power is what's causing great disappointment and anger and suicide rates among 30 some odd white men, which are the big force behind the Tiki torch bearing populist movements and nationalist identitarian movements we see everywhere today. So this like white man pain is a real problem that turns violent if we don't recognize that all of our responsibility of thinking that power looks like a white man in a suit is violent and it's not good for anybody. So that's the first step. I would like to, yeah. So I also noted that I would like to know here also the blindness of privilege to speak as no one or to be speaking from a position of authority that is implied in terms like universal human rights. When Eric suggested some kind of transcendence of national identity through recourse to the human, who else would use such terms as universal human rights than a white male? Because no one else believes in the universal human because no one else in the history of Western patriarchy has been represented in sculptures, paintings, scriptures and all sorts of narratives as the universal human. Everyone else as far as I can see from where I stand besides a white heterosexual cis-gendered man is a particular kind of human who must be speaking with a particular kind of interest. And that is the first step wherein the arts have a duty and a responsibility and an ability to change who is a subject of contemporary democracy. Who has a voice? Who speaks for whom and how? And here I reiterate identity is not an ends but a means, a necessary consideration. Diversity is a necessary criteria for evaluating what kinds of identities are represented and what positions of power or visibility. And it's everyone's job to undo and destabilize the structural inequalities that continue to give power to white men and consider all others as othered. But curatorial labels that use minority groups as niche market signifiers for your festival or your mini-focus on queer art or whatever. Now we're gonna do some to torque festival. These are not affirmative of diversity or productive of visibility. They also reinstate the invisibility of apparently unnecessary modifiers, white, male, and heteronormative. To describe the highest earning and most celebrated artists as well as the most powerful people in any profession working today. The white supremacist patriarchy maintains its invisible neutrality by categorically naming everyone except straight white men of European descent as racialized, gendered, sexualized, foreign, othered and continually marginalized. This also translates directly to market value as devaluation, maintaining the historic links between economic inequality, race, and gender. Excavating this stronghold of dominance is two-fold. Straight white men ought to be named as such and everyone else deserves equal rights to anonymity, objectivity, innovation, and other intellectual privilege that has been asymmetrically distributed for centuries. The Xenofeminist Manifesto, authored by the moniker Laboria Kubonix by a number of authors together, in fact, quote, declares the right of everyone to speak as no one in particular. You can find the Xenofeminist Manifesto online, of course. This is one of the early promises of the internet which quickly was co-opted by a kind of hypercapitalism that feeds off of identity assertion in the technologically mediated sociality of the information age. Doing the exact inverse, then granting the right of everyone to speak as no one in particular, social media force us to constantly affirm and assert an identity. Rather than allowing for anonymity, the internet with its major investors have captured us in identity affirming algorithmic bubbles, wherein it is not only forbidden to use a false moniker on Facebook, for example, try as they may to control it, but all of your clicks, your shares, your comments, and navigations online are monitored in order for the media moguls of the internet to feed you more of what you already think, hence affirming cognitive bias, whether you like it or not. No wonder we are trapped in a new form of tribalism where clusters of people who identify with each other gather in echo chambers of polarized belief. More on this later. True diversity means anyone having the right to appear as nobody. It means having people of color, women, trans, and non-binary gendered people and not only the able-bodied in positions of visibility and power without having to be labeled as anything other than in a position of power. Everyone in this room has the potential to affect this change. In the programs you curate, in the institutions where you work, in the positions you hire for. In the invisible and innocent neutrality of the white heterocyst gendered male, the call-out culture of naming what has been previously imminent and unspoken is a necessary step towards leveling the playing field, but the inverse gesture is also necessary. I said this already. Everybody should be permitted to occupy generic, unmarked, and major spaces, changing the face of hegemony itself. But demographic diversity is only one step, a way in which identity is a necessary means, but not an end. The other way that identity is a means and not an end is that we are all changing. The identity we assume right now will change when we are engaged in different activities, in different groups, and changes throughout our lives. I, like you, am a process. Whether or not I am willing or aware, I am changed and changing. I, like you, in order to feel in correspondence with my reality, wish to be seen as changing and permitted to change. Acknowledging change and allowing others to change means not assuming you know anything about a person's mind no matter how long you've been acquainted and most certainly not based on appearances. Acknowledging change and allowing others to change means also allowing the white cisgendered heterosexual old men to change. Ask your grandfather or your boss what their preferred gender pronoun is. Maybe it's changed. We, like everything, are constituted by dynamic processes of change in constant negotiation between order and chaos, between entropy and organization. In all of our actions, we are participating and implicated in the continual ordering and reordering of our co-constructed reality. Socially, culturally, psychically, emotionally, biologically, environmentally, materially, physically, anatomically, cosmologically, symbolically, in our language, representationally, in our images. To be is to change and to change is to be. Perception itself is a matter of sensitivity to change and difference in time. Identity formation of any kind at any level is a reduction of the constant flux and chaos of a being or thing. To recognize consistency and repetition in the change of another being is to identify them. To perform one's own resistance to disorganizing forces is to assert an identity. Identities are virtual objects, useful like names or numbers for consolidating and simplifying our understandings of things. Through the creation of categories and values, through affinity and comparison, creating sets and subsets and relations and systems of meanings with them, but nothing more. Unfortunately, it is much more in the art market. The symbolic value of an identity transforms directly into market value in the professionalization of one's activity. As a professional artist, it has been my determined interest to resist my own transformation from a complex changing and dynamic system of forces into an identity. Mostly it's painful to insist that I'm not what I was. The transformation of noise into information, of chaos into order of sense perceptions into sense of being into identity all depends on an observer's ordering mind to produce such orders. Identity is a question of being seen. Identification is the activity of an observer. It is also performative. We perform identities. If we are to sensitize ourselves to the nuances, complexities and volatility of each other, we have to be able to constantly question our frameworks of seeing, our cognitive biases, the ordering structure of our perception of others. Artistic authorship is a process of arrangement and composition which proposes to all who engage with the artwork an effective and cognitive experience in which the basic processes of pattern recognition and interpretation are at stake. Making arts is a means by which people offer others, offer each other ways of seeing, feeling, sensing and understanding. In contemporary art, we're looking for new ways of seeing, feeling, sensing and understanding are encouraged. The concept of artistic identity is a true paradox, a catch 22. If you have formed a comprehensible, recognizable and stable artistic identity, it means you're repeating yourself. So what is new and how are you contemporary? If you fail or refuse to maintain a stable artistic identity, it's very hard to sell your art because money likes certainty and it's hard to get anyone to invest in something too unstable. I have learned to talk about what I do in descriptive terms and certainties. I have learned to project futures and promises into my practice in order to secure resources. All of this certainty while it is the only way for me to support my art is poison in my artistic mind. Because I consider it my duty as an artist driven by curiosity and attracted to that which I do not yet understand. It's my duty to speak in other terms and to make space for experiences and discourses that reflect my fundamental and our fundamental complexity and instability. Artistic practice and especially being a dancer constantly reminds me of how I am changed by what I do. It humbles me and it makes me full of doubt. Art is a learning process. Artworks are ciphers for ways of seeing and thinking through the world in the world about things in the world. I'm not interested in asserting statements about my artwork nor about my artwork that should foreclose any possibility for the work in its search for new insight to do its work. So please, to everyone in this room whose job it is to market, produce, publicize, curate, fund and support artistic work, I ask you to be vigilant about where and how you are asking for certainty. Where and how you are asserting identity on a situation that maybe doesn't want it. Stay with the trouble, hover in what you don't understand and maybe you'll start to see more of what you didn't already know. Sorry if I'm preaching a little bit. Gotta use my platform, you know? A proper openness to an artwork's aesthetic informational properties allows any artwork to be about anything and therefore also allows anyone and everyone the position of truth claim and the possibility to speak as anyone. Here we're talking about the relation between artist and artwork. The possibility to speak as anyone is a crucial tool in fiction, for example and in traditions of performance. Fiction shapes reality by informing imaginations and figuring the possible. Actors, dancers, performers, writers exercise various methods of becoming other through embodying fictions. A sophisticated and sensitive differentiation and relation between the artist and their artwork allows at the baseline any artist's work no matter the genre to show us ways of seeing anything or anyone else in the world other than the artist. If we engage our senses intelligently we can read the artwork itself for indications of the extent to which and how the art regards the artist's gender, sex, race, creed, religion, class, body or politics and the extent to which the art turns its gaze elsewhere. Each artwork and each artist is an individual node in a complex effective system of relations. Each node, each person and each thing they make positions itself uniquely towards the entire system. It is our job as attendees, witnesses and observers of things made by others to study closely the things in themselves for information about the forces that brought them into being, including but not confined to the authors, conscious and subconscious intentions, ideologies and identities. Even for the artist who aims at frictionless self-expression with no cognizance of their own constructedness and with no acknowledgement of the many forces and influences that speak through them, artists are not identical with their artworks and one does not explain the other. Artistic identity is also therefore a flawed concept insofar as it normally functions through the identity of the artist themselves and through the identification of the artist and the artwork. This is a direct result of the art market and its practices of representation, promotion and circulation of artworks in which the artist's name accumulates and carries value through their individual artworks rather than their ideas. Galleries and theaters don't pay for ideas, they mostly bet on authors, which is why a perfectly forged replica of a Picasso is worthless, but the original signed Picasso is worth millions. Why the thousands of artist assistants and collaborators throughout the world who craft and influence the work of well-known artists remain anonymous and why a mysterious piece called Untitled didn't tour when it was presented anonymously in 2005, at 10th of August by a group of well-known choreographers whose other works tour very successfully when attached to their names. In light of the enormous institutional and economic force that sustains the commodification of an artist's identity and how that translates directly to font size of single author's names being larger than the piece, being larger than the collaborators, how could audiences and critics not think of artworks as artists and vice versa? Certain qualities of an artist's mind, their ways of thinking, their ways of sensing and seeing are in the artwork, but the artwork is not necessarily a transposition or translation or representation of their identity, their inner workings or even of an ideology which they must represent. It's possible that an artist's artwork even represents ideologies and formal structures in the world that they themselves don't represent.  Maybe it shows me biodiversity that is directly antithetical to the ideologies that the Nazi who painted the black forest represents. Just for an example, to read the artwork always through the artist to concern interpretation of the work with the author's conscious or unconscious intentions, if taken alone, reduces the artwork to autobiography and psychoanalysis. Such reduction precludes the possibility of the artwork to be evidence of things in the world besides the author. The differentiation of artists and artwork allows the artwork to do its job, that is, to offer ways of seeing the world and not just ways of seeing the artist. I have to move forward, but yeah. A close reading of an artwork can tell you a lot about the artist and a lot about the world, but a close reading of both artists and artwork, separate but bound in relation, tells you more about both and about the worlds they each engender. Individual artworks and individual artists, like individual audience members, are each unique constellations of actual forces in the world. Everyone and everything is a compression of dynamic forces and in themselves represents or stands as evidence of those constitutive forces. All unique perspectives, all of these individual units evidencing different structural possibilities are necessary for an adequate representation of the world. No model, however abstract, will ever be able to accurately and sufficiently picture the world as it is. No worldview is complete. Pluralism is therefore a necessity for comprehension of reality as it is. Like in a mathematical model, if you start with a polygon and we say each edge or each angle is a perspective and you multiply those perspectives until basically you have a sphere, right? You see the mathematical model. That's pluralism constituting the world versus the sphere which is smooth. In the pluralist, it would never be, it would always have texture. You'd have a very spiky globe but you would never have a smooth abstraction of the world. That's, yeah, anyway. To conclude this section on identity, art can teach us just this section on identity because I still have to talk about the attention and economy and I still have to talk about art, more about art. To conclude this section on identity, art can teach us if we let it through a pluralism of the senses, through seeing, hearing, feeling and sensing, how to read things and people as evidence of whatever speaks through them as systems in themselves uniquely aligning and organizing the larger structures and forces they embody and inhabit. So this idea now of the many media of thought I need to address. There's a structuralist view that language speaks through you as much as you speak through it. So any utterance in a language expresses the grammars, syntaxes, codes, ideologies, histories, culture of that language. You could move this also to other media of thought. Like if I'm dancing, dance speaks through me as much as I speak through it. When I'm moving, all of my training, the history, the culture, all the patterns I embody, all of those are encoded and patterned. They're speaking in my dancing as much as I am speaking through them, they are speaking through me. So in his book Orality and Literacy, just a bit on language and how it's shaping, how our minds have been changing through language first. We'll talk about language. In his book Orality and Literacy, the technologizing of the world, Walter Ong traces how writing has completely shifted consciousness. So in primary oral cultures, primarily oral cultures, everything was embedded in a life world. There was no reality that was detached from a speaker in their bodies, in space and time. It was all very social and dialectic. It was all about the micro-identity and the immediate reality. With writing, we reached abstraction, analysis, and even concepts of time that were made possible only through the exteriorization of thought in writing. So people before writing didn't know what year they were born or what year it was. They didn't need to. It didn't mean anything. So the way that writing has shaped our consciousness, our perception of time, our way of living in the world is so huge. He writes about it in his book Orality and Literacy. Walter Ong, it's very interesting. And then he speaks about, he wrote this book in the 80s. So in the 80s, he then spoke about a second orality with film, no, with television, radio, and telephone. What we're experiencing now is like a third orality, I think, where with a computer in every pocket and the total mediatization of our language, and doing this all the time, and doing this all the time, language has been compressed to be closer to orality. So language drift is accelerating also outside of the sort of historic modern nation states that produced dictionaries and kind of controlled the sort of dialectic diversity that's all kind of, that's coming up again. And that's part of the new tribalism that we're living in. It's like a new, it's like a third orality in the terms of Walter Ong. And this also has to do, so we have to move now into the discussion of the attention economy. What's happening also with the increase of information in our consciousness is that we used to function in information scarcity and through, we would learn things internalizing and externalizing, writing and reading or whatever, talking and listening. And now there's so much more externalized information that our interiorization of information has decreased. It's all in the cloud or hard drives or you can look it up on Wikipedia. So now there's an increased externalized amount of information, but also everybody has this experience of being bombarded with too much information, which is why people also reject what they don't understand. So this cognitive bias is not only in the algorithmic bubbles of Google feeding you what you already think and what you already want to hear, but it's also just in the fact that you are fed too much information that you feel overwhelmed but overwhelmed with familiarity actually, overwhelmed with noise. It's not information. It's not new knowledge. Most of it is just noise. So people are naturally in this rejecting of information mode. So technology is doing this to us in a very real way that we have to face and understand and become a part of. Well, James Williams, and he's sort of the authority on attention economy. He tells the story of, what's his name? Diogenes, he was basically the closest thing to a modern day troll, living in like a little ceramic pot in the marketplace and Alexander the Great was a big fan of him and Alexander the Great walked over one day to Diogenes and he says, what can I give you? I want to give you anything. And Diogenes was like very sour, very critical, very fun, made fun of everybody. He was just like very sharp. I know I have to finish then. And James Williams, no, sorry. Diogenes says, stand out of my light. You're blocking my light. This is basically what's happening in the attention economy is all of these people, Facebook, Netflix, Google, et cetera, they're standing there saying, what do you want? Let me give you more of what you want. And actually they're standing in our light, literally. The attention economy functions by keeping our, there's three terms they use. Starlight, daylight, and spotlight. Attention, spotlight is where your media attention is, like what you're looking at right here right now. Daylight is the collective sort of mindedness, like what do we all see together here in the daylight? And starlight is like the North Star, your guiding dreams and visions. Prior to the attention economy, whose only aim is to hold our attention in spotlight, just hold our attention, that's it, because our attention is money. Your starlight and your daylight would determine what you do with your spotlight. But now your spotlight is determined by forces that have no interest in your daylight or your starlight. So there's a great article in The Economist you can find about how the attention economy is destroying our democracy, because it's erasing daylight, but also destroying our ability, like it was said yesterday, that artists' job is to imagine a different future. This notion of starlight, what you wanna move towards, larger goals and dreams and visions, is also completely obscured. So what kind of imagination do you have when spotlight is completely shaped and formed? So that spotlight, being guided by algorithmic stuff and et cetera, is actually shaping and obscuring and changing where starlight is or where daylight is. So, boy oh boy. There's also in the attention economy what gets the most clicks. Emotionally, the strongest emotion that's encouraged is outrage. So we're emotionally being trained to be angry. So these are all the conditions and forces in the world that are making populism completely possible right now. It's not the same populism as in the 30s, but it has the same aims. It's still a strategy to maintain power and to give those without a voice the impression that they have a savior somewhere. But the means of operation are completely different. So this emotional appeal of the clickonomy, so to speak, is fueled by outrage. You're supposed to be angry. That's how you will hold your attention to your device and keep commenting or liking its rage and humor. Humor is like the minor second, but outrage is huge. So, and then yeah, and there's no responsibility towards democracy or meaning production in any of these media mogul companies. I mean there's a quote, Netflix said, they named their major competitors as YouTube, Instagram, and Sleep. And Mark Zuckerberg, after the 2016 elections, he said, our goal is to show people the content they will find most meaningful, identifying the truth is complicated. That was after the 2016 elections, basically by saying like, it's not our job to deal with journalism, truth, not my problem. I just show you what's meaningful. So it's like it's all effective that we're being pulled into very emotional registers. So in a way to coming back full circle to the Chantal Mouff thing of inviting passions into politics, we need to upgrade our emotional intelligence, our sensitivities through other media of thought than this one. And that's in short what art can do. Art is often still in a daylight setting. It's about the time and space we share, offering ways of seeing and feeling and sensing through different media of thought, not just language, not just screens, but color, texture, sound, vision, touch, affect, sensation. Not just to remodel the imaginary, but to reorder the sensible in the Ranciere sense of the aesthetics of the politics of aesthetic. I think it's very important that we all take care that art can also, what art can also do in this very identitarian age of populism is to allow us a space to trouble the simplifying, identifying tendencies that allow something like populism to take place. So offering a safe space for confusion and in a place to wrestle with cognitive bias I think is very important here also. So it's even on our level, our job to undo our attachment to concepts of identity as ways of seeing. And the last thing I wanna just talk about is this relation between nonsense, nuisance and nuisance. So there's nonsense that's negligible that doesn't make any sense and we don't care and it doesn't bother us.  So nonsense that troubles what we think makes sense enough to produce a friction for new sense. And I think practices that engender complexity and sensitivity allow for a softening or a displacement of the borders between order and chaos, between noise and information. The ways that we make sense of each other in the world are allowed to move and shift in artistic experiences that let that happen. There's artistic experiences that are very identity-oriented and simplifying but maybe it's about paying attention to which ones we're giving space to that can offer a dismantling of these maybe identitarian tendencies. To be destroyed, to lose your identity and to lose your recognition patterns in the space of art can translate to a different world beyond art, I hope.  I wanted to have time for discussion but we started really late so send me an email. Info at goodmove.be.


3. Useful Strategies to Teach Vocabulary in the ESL Classroom Lewis, 1993, claims that Lexis is the core or heart of language, P89. Indeed, it is one of the basic steps of mastering a foreign language. Vocabulary knowledge is what makes verbal communication between people possible. Most teachers face problems when teaching new items. They feel the need to use techniques to have an effective lesson. Over the years, teachers have tried to find the most effective and practical strategies to teach vocabulary. They have been applying several methods like fill-in-the-blank definitions, pre-teaching and familiar words and stressing high-frequency words. This essay will just focus on three strategies that can help teach vocabularies such as using visual aids, highlighting vocabulary and context and vocabulary practice. 1. Visual Aids First, using visual aids plays an important role in teaching a second language. Teachers need to create a visual memory for the words they are teaching. When it comes to teaching new words, the teacher should not be limited to course books. He or she should be ready to apply useful strategies to fit their learners' needs. In fact, to maintain students' interest in the lesson, developing new techniques for teaching is necessary. For example, instead of just writing words on the board, the teacher can introduce new vocabulary using flashcards to elicit the meaning of each word. Employing flashcards in the introduction of new vocabulary may help students recall the words and their meanings better. This technique can also teach them the written form of words. Furthermore, teachers need to attract students' attention and keep them engaged in the lesson. Visual aids can help them achieve that. They are based on creativity and imagination which can be entertaining and motivating for learners. For instance, using videos to teach new words is considered effective because they combine oral, written and visual input which can help comprehend the language provided. Henceforth, these facilitating tools can lead students to establish a good level in English. 2. Vocabulary and Context. Second, highlighting vocabulary and context is a way to improve second language vocabulary learning. Highlighting unknown words in reading texts helps students focus their attention on target words. In fact, context clues are useful in guessing the words' meanings. For instance, the teacher can give a sentence such as the singer's flawlessness, or perfection, cause the crowd to go crazy. This sentence includes an unfamiliar word flawlessness. In this case, in order to understand the meaning of the highlighted word, students can focus on other words which can provide its definition in the sentence. Indeed, highlighting a specific word leads learners to pay more attention to the context around the highlighted item. Such clues provide students with a direct or an indirect insight into the actual meaning of new vocabulary presented in a text. Teachers need to introduce new words in an effective way to support and facilitate students' learning process. For this reason, attracting their attention to the selected words is beneficial. In addition, learners need to be instructed to rely on themselves and understand the words' meanings from context. In general, being exposed to a word in a comprehensible input enhances word knowledge. Therefore, when teachers apply useful teaching strategies, the level of language proficiency can be achieved. 3. Vocabulary and use Third, vocabulary practice is one of the several effective ways of teaching. Typically, when students are frequently exposed to the target language, their chance of learning and remembering words is greater. Thus, teaching words using vocabulary games and study activities, such as gap fill exercises, word searches, and cross words, increases learners' exposure to new vocabulary and raises their interest in learning. When teachers use a number of games to practice vocabulary, students would encounter the same list of words in different ways which would make the lesson more entertaining and interesting. Learners need multiple exposures to words to be able to learn and memorize them. In other words, being involved in different activities gives them a chance to encounter words and practice them. Therefore, teachers need to utilize practical games to allow learners to develop their vocabulary knowledge. For example, charades is a game that teachers use to engage all the students in the classroom. The teacher chooses a student to communicate a word instead of photos. The rest of the class needs to guess the correct word. The physical involvement in this game helps learners learn easily in an enjoyable environment. Hence, practicing a language has an effective role in the learning process. Do you want to teach English abroad? Take a TEFL course. To sum up, teaching a second language vocabulary is challenging. Students need to be kept motivated, active and engaged in the lesson. Using multiple strategies in the classroom to present information can be effective for learners. It is the teacher's responsibility to provide students with fruitful ways of vocabulary learning. Moreover, practice is required to achieve language proficiency. Practicing and engaging learners in efficient activities ensure the acquisition of new vocabulary. In other words, utilizing a variety of teaching techniques can lead to developing students vocabulary. Additionally, exposure to the target words must occur in different contexts to guarantee a full understanding of their meanings. In fact, the amount of words that learners possess enables them to improve their language skills and become productive and fluent in English. Hence, vocabulary has an essential role in mastering a second language. Speak with an ITTT advisor today to put together your personal plan for teaching English abroad. Send us an email or call us tollfree at 1-800-490-0531 to speak with an ITTT advisor today.


It's chiptips, chiptips, I have no music and I can't sing! Greetings, chip friends. I'd like to talk about switch debouncing.  And I'm going to illustrate it using this breadboarded circuit. I have a 269 8-bit binary counter connected up to my 4-digit display. And I've got a switch connected to the clock input of the counter. The schematic is very simple. It's basically just this switch connected through a resistor, which is 10K. It doesn't really matter what it is. Going to plus 5. So whenever I close the switch, the signal goes negative. Whenever I release the switch, the signal goes positive and the 269 counter counts up on a positive edge. So whenever I release the switch, I expect to see one count on my counter. I think of course you know already what's going to happen, but let's do the exercise anyway. So I'll turn on the power and I have this sort of pinkish anti-static bag that I can put over this display to make it look a little better on the camera. And here's my switch. And of course I'm going to flick it once. And of course here we have 14 counts.  And that's just going to keep happening. So I'm definitely not getting one switch pulse per activation of the switch. So what's going on? Let's go to the oscilloscope and see exactly what the switch is outputting. So here's the output of my scope and I have it set up to capture one instance of pushing the switch. So here we go. All right, and that looks pretty clean except you'll notice that the time base is 100 milliseconds. So this is about a 150 millisecond press. Now, if I zoom in, we can see that we're getting multiple bounces on the order of say 10 microseconds. We're getting one, two, three, four, five, six, seven, maybe more bounces at the beginning. And probably likewise at the end we're getting multiple bounces. So this is certainly no good. And what we're going to do is we're going to measure a few times to see how long it takes for these bounces to stop happening. So here we're at a time base of 200 microseconds. So we can say it's about 400 microseconds. And I'm going to do another test. Okay, so that was, again, a little over 200 microseconds. Again, a little over 200 microseconds. And we could do it a couple of times. There's a slightly longer, pretty much, we're at 400 microseconds. So we can probably, okay, there's a little longer, 250 microseconds. So we can probably say that this switch bounces for maybe at most 300 microseconds. We can even be safer and say 500 microseconds or even a millisecond. That's pretty short compared to human reaction time, which is say on the order of 100 milliseconds. So let's call it a one millisecond and see what we can do from there. This is the push button switch that I've been using as a reset switch. It's going to have different characteristics. In fact, let's plug it in and try it. Okay, it's very noisy. Let's try again. It's very, very noisy. Once more. Okay, so that looks like about four milliseconds. We'll try again. Two milliseconds. Okay, that's a lot longer. That's about eight milliseconds. So maybe we can say that this is 10 or 15 milliseconds of bounce. So this is a very noisy switch. So before actually constructing your debounce circuit, you have to know a little bit about the characteristics of your particular switch. And the only way you're going to do that is just by measuring it. Now, here's one simple technique that we can use to debounce a switch. So I'm going to draw the resistor and the switch. So what we know is if we look at a graph of what happens when we close the switch, we see a lot of scruff and then it goes down to zero. And this scruff lasts, we called it say one millisecond for our paddle switch. So what we can do is we can say that at the end of this one millisecond, after the scruff is finished, we want to wait one millisecond for a completely clean signal before saying, yes, that is a zero. And the same thing would happen on the upside. So we get a bunch of scruff, about one millisecond, and then we finally get to the top and we say, okay, once we see five volts, we want to wait for one millisecond and after one millisecond of no negative signals, we say, yes, that is a one. So it looks something like that. And the way we do that is by adding a resistor and a capacitor and then by passing it through a Schmidt trigger. Now a Schmidt trigger, a Schmidt trigger inverter in this case is a device which takes an analog voltage in and converts it into a digital voltage using two thresholds rather than the usual one. And you can probably see a whole lot of other videos on this, but very briefly, the Schmidt trigger has two thresholds, a positive going threshold and a negative going threshold. And the idea is that when you have a voltage that goes up like this, once that voltage passes the positive going threshold, the signal gets inverted. So here is the output of our inverter, Schmidt trigger inverter. So we have one as the output and then there, once the positive going signal passes the threshold, we immediately go down to zero. And the advantage of this is that if this signal is kind of wiggly, then even if it's wiggly at the threshold, if it keeps crossing the threshold, nothing is going to happen. Because once the positive going threshold is passed, the negative going threshold is now active. So when the signal starts dropping and we pass the negative going threshold, that is when the Schmidt trigger's threshold gets triggered and the output of the inverter is now one. So that's basically how that works. The idea is that there's a lot of wiggling on this input signal, you know, maybe there's some, I don't know, 60 Hertz hum or some, you know, some clock noise going on in there. And these separated thresholds going in different directions helps the output of this inverter be extremely clean and smooth with no bouncing. So how does that affect what we're going to do with this circuit? So here's how it works. So what we're going to do is we're going to assume that the switch is open, which means that this capacitor is charged all the way up to plus five volts. It doesn't matter how long it took to get there. The point is that it is at plus five volts. Great. Now, when we close the switch, what's going to happen is this capacitor is going to discharge through this resistor, which I'm going to call R2. Here, I'll call this resistor R1. So we close the switch and, of course, current is going to flow through R1 between VCC and ground. We don't care. But this capacitor is going to discharge through R2. And that's going to look like your classic capacitor discharge curve. Now, because this is a negative going signal, we want to know when that curve is going to hit the negative going threshold of the Schmidt trigger. Now, for a 7414 device, this negative going threshold is 0.85 volts or about. So all we need to do is figure out how long it takes for the capacitor to discharge from five volts down to 0.85 volts. Now, the idea is that during bouncing, this thing is just going to bounce up and down, up and down, up and down until finally the switch settles on being closed. Then the capacitor will smoothly discharge down to zero. So let's find out how long it takes to get to 0.85 volts. Now, you've probably seen the capacitor discharge equation. I'm going to write it a little bit differently. I'm going to basically solve for R. Let's assume that this capacitor is C, whatever it is, because we already know the amount of time that we want it to take. So for discharging, the resistance is simply going to be negative T divided by C times the natural logarithm of the threshold 0.85 divided by the initial starting point of the capacitor, which is five volts. Now, if we wanted to have T equals one millisecond, which we've determined was the rough bounce time of this panel switch. And if we say that the capacitor is, say, 10 microfarads, then R is going to be 56 ohms. Now, that is extremely small. So what if we, say, go to 10 milliseconds just to be safe? Again, we're talking about human response time and there really isn't going to be much of a difference between one millisecond. In other words, flicking the switch a thousand times a second and flicking the switch 100 times a second. So at this point, we know that R is 560 ohms. Okay, so now that we've taken care of the discharge, let's talk about what happens when you release the switch. Now, when you release the switch, of course, the capacitor is going to start charging up to five volts again. Now, if we assume that it's been discharged all the way down to ground zero, then of course we're going to see your classic capacitor charge curve. And that's going to charge up to five volts, but we don't care about it going all the way up to five volts. What we care is when it passes the positive going threshold of the Schmidt trigger, which in the case of the 7414 is 1.65 volts. So again, I'm simply going to write down the equation of the charging capacitor with respect to solving for R when we know the time and the capacitance and where we want it to go. So it's simply going to be minus time divided by the capacitance times the natural logarithm of 1 minus 1.65 divided by 5, which is the endpoint. Okay, so again, if we look at 1 millisecond and a capacitance of 10 microfarads, the answer that we get is 250 ohms. And of course for 10 microseconds and 10 microfarads, it's just going to be 10 times that, which is 2.5K. Okay, now this resistance is of course the sum of R1 plus R2. So of course if R2 in this case is going to be 560, then of course R1 is just going to be 2.5K minus 560, which is something like 2K, or a little less than 2K, say 1.9K. So that is what we would want over here. We would want a 10 microfarad capacitor over here, a 560 ohm resistor over here, and about a 1.9K resistor over here. So let's hook that up and see what happens. Okay, I've got the circuit hooked up and I'm going to flick the switch, and we can see this nice discharge curve. Okay, so if we measure this curve now, we're going from 5 volts down to, let's call it, 0.85 volts or so. And we see that that's about 11.6 milliseconds. It's pretty close to 10 milliseconds, you know, because these components aren't exact. So that's our discharge curve. Now we can do the same thing for the charging curve.  We see it's about 13.6 milliseconds, again roughly approximately 10 milliseconds. So the question is once we pass this through the Schmidt trigger, will we be able to trigger our counter with one count per flick of the switch? Okay, I have a 7414 Schmidt trigger inverter hooked up now to my switch, and we're going to switch this on and see what happens. 1, 2, 3, 4, 5. Excellent, it seems to work, and even when I do this rapidly. 1, 2, 3, 4, 5. 1, 2, 3, 4, 5. 1, 2, 3, 4, 5, 6. Excellent. Okay, so that's pretty much how you debounce one of these switches. You have to measure the characteristics of the switch, calculate the appropriate resistances, given a particular capacitance, and what you measured is the bounce time of the switch, and then just hook it up to a Schmidt trigger, and you should be good. Now, we can do the same thing with this terrible switch, which we measured to have something like a 5 millisecond bounce time. This circuit should still work because this is based on a 10 millisecond bounce time, so let's hook it up and see what happens. Okay, I've hooked up this button, and let us see if we get any double counting. Nope, we don't get any double counting, so this seems to work, and our procedure is pretty good. Now, one final thing that I want to talk about is the relative sizes of these resistors and capacitors. Now, you've noticed that I've chosen resistors on the order of about 1k, and in general, you want to be on the order of say 1k to about 50k for your resistors. The reason for this is that for any gate, you're always going to have some sort of what they call leakage current even if your input is connected to plus 5. It's not going to always be zero current. There's going to be some small leakage current, and this is typically called IIH, or input when high current. Now, for the 74LS14 that I'm using, this input current is around 20 microamps. So you can imagine, of course, that if I connect up a 1 meg resistor to plus 5, well, 20 microamps across that resistor is basically going to be about 20 volts, which means, of course, that you're not going to get any current at all and any voltage at all into the gate, which means that the gate is not going to do anything. So obviously, you can't go that high. Even 100k is pushing it because 20 microamps across 100k is going to be 2 volts. And at that point, your input is only going to be 3 volts, which is perilously close to the input high threshold voltage. So you don't want to go as high as 100k. So this is why, as a general rule of thumb, you want to stick to resistances of between 1k and 50k. The reason that you don't want to go too low is that remember that when you close the switch, this resistor is directly between your positive power supply and ground, which means that you're just going to be wasting current if this resistor is low. So you want this resistor to be fairly high. Again, the total has to be in the range of about 1 to 50k. So that's about it. I hope you enjoyed that little presentation about debouncing switches. Again, the important steps are, one, to measure your characteristic for the switch on your oscilloscope. Number two, take that number and plug it in to these equations to obtain your resistors and your capacitor value within that 1k to 50k range. Okay, I guess that's about it. I used a slightly different video style here. This was completely unscripted. So if I stumble and I have a lot of us, well, that's what you can blame. It's chiptips, chiptips. I have no music and I can't sing.


Hello everyone, this is Ahmed Dan of AhmedDan.com I'm documenting my second dose of Covid vaccination in this series and yesterday about 6 o'clock or around 6.30 I had my second dose of Covid so originally I wanted to do a video yesterday documenting how I feel right after the Covid vaccination but what happens is that my audio system didn't work and I was not able to do any talking video but I did a walk video for about 15 minutes which you would be able to see in the same playlist So my first dose was in May, I think it's May 8 and my second dose was scheduled for August 28 but then I got an email from the Toronto Public Health and they wanted me to take my schedule ahead so I rescheduled my second dose yesterday which was July and the process was very simple just like the first one, there was no delay, no nothing so once I went there it was actually done I would say about 10-15 minutes although my schedule was at 7 o'clock but they let me in at 6.30 and I was out by 6.55 or 6.50 so I had a kind of like you know heavy feeling in my eyes and arms and legs last night I walked to home which was okay there was no problem and then today I was expecting a lot more reactions but you know looks like you know so far I'm doing okay I have just pain in my left arm where they gave the shot but I don't have fever or chills but I have a little fatigues or I'm a little bit tired but except that I don't have any flu or any fever but I remember after the first time I had flu and I had you know mini flu for about 2-3 days but this time I don't have anything yet but I only passed 18 hours so it could you know it's possible that there is more to come so what happens that you know the mRNA vaccination which is the one I had Pfizer both for first and second shot it teaches your body how to deal with the protein which can be found in the actual covid disease but after the first shot your body learns to you know how to deal with it by triggering the immune system responses so when you take the second shot then the body already has the you know antibodies and T cell memories from the first dose and it's supposed to react more robust or vigorous you know reaction to fight with the immune or to you know trigger the immune system to fight with the vaccination so that's why usually the symptoms are much higher and more robust after the second shot than the first shot but the younger people have usually more you know symptoms of this after the second shot because their immune system is stronger but older people supposed to have or expected to have lower reactions or lesser reactions after the second dose so so far my reactions are seem to be you know seem to be very normal but what I also heard that if you have a mix of doses for example let's you have the first dose Pfizer second dose Moderna or the first one is AstraZeneca or second one is Pfizer or the vice versa then robust would be more you know the responses would be more robust but for me the both of them are same so I have first dose as Pfizer and the second dose as Pfizer so why if that's the reason I'm not getting more severe responses but it's just 24 hours I mean 18 hours probably I would see you know what happens after 24 hours and I'm going to like you know give you updates on these so this is my I think third video in the playlist and you can check playlist for my first video and the second video which was actually just a walk video second video I did yesterday after the shot and I'm going to try to do two more updates or possibly three more updates based on how things are going but as of right now everything seems to be okay I don't feel like you know fever or chills or flu or anything yet but the left arm is numb and it has pain and the eyes are a little bit heavy and also you know I would have like you know the fatigueness is there and a little bit tiredness but I don't have sore throat or anything else so let's see how things are and definitely I'm going to be doing another update tomorrow and possibly another update the day after so you know if you'd like if you like what you see then definitely come back for more so I'll be documenting the whole journey and another thing I'd like to mention that when I was getting my second shot then they told me at the entrance that they only have Moderna and if I'm okay with that then I told them that you know whatever it is I'll take it you know I'm not worried about anything so just give me whatever you have but then when I went to the actual booth and the nurse offered me either Moderna or Pfizer and I told her that you know because my first dose was Pfizer then I'd like to take my second dose as Pfizer as well so I was given Pfizer so that's the process which I went through yesterday so thank you for watching up to now and I'm going to end this video shortly but definitely I have a lot more videos on this channel and on this channel I'm always trying new and different ideas if that is something you're interested in please visit for more thank you for watching and I'll see you shortly


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Hopefully more baseball starts up soon Jazz of the Rudy Gobert Jersey cart throwback memorabilia not that much of a throwback rookie silver Premier level Dillon Terry bulls Gotta get Ortiz to play tonight. Yeah Benedict Matherin got a light blue drew holiday Bucks concourse Number two to 99. All right five more boxes your last five boxes select daytime random style tonight was Sam's still have spots available Not a ton though Actually, no, I think no the all the randoms are sold out tonight. There's PYT's tomorrow daytime That's your next time to get selected. They're filling up quick to plenty of chronicles There's more top scromes soccer tomorrow as well Those are gonna fill up fast because the ones today are already I've been full since I got here It's fun stuff. 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He like has rehearsed it or something Tricolor concourse drew holiday bucks. Your dad hates it, man. I'm sure that's why Like Sean the more the less you react less. He's gonna do it shed Holger rookie kill of Houston Just can't do it Jamal Murray Blue premier level to 249 nugs Silver unstoppable Lamello for the Hornets silver concourse Michael never swing the Rock Porter junior. I Think he swings the rock. I think he does now the Jerry Sohan To 49 and Kessler rookie Jersey auto for the jazz awesome Walker Kessler, Utah Silver SGA for OKC Yeah, yeah, of course Frankie Got tie tie Jersey rookie for the Rockets West Ham you think you think You think they're gonna sell Declan got silver hiers Halliburton Pacers Jabari Smith, Jr. That's a that's a it's a lot of money That's a arsenal wants to give them Taco Frackey largest transfer for an English player in Prairie history, right top track and soccer it's to 52 Vaughn Oh, no, not taco. Sorry. I thought you said tops frack Vaughn, it's probably exactly what it sounds like Tacos, you know how they did the logo fractor. Yeah, it's gonna be tacos. Just that which I mean That's a chase for me. I don't care what y'all say I Need I need a Rafael Devers taco frack Okay, Brandon Patrick Baldwin, Jr. To 99 on the rookie Jersey auto for the Warriors Scott Sterling is the ICPL Concourse red bowls the two to 1.99. I would assume. I'm so upset that I forgot about Scott Sterling, you know those videos, right? The guy or the he's playing goalkeeper and just the ball hits his face every time Try color Jalen Brunson nicks Yeah, man Scott Sterling the legends Scott Sterling Try color rookie concourse Yovitch for the heat Got an Andrew Nemard rookie on the court side for the phasers Williams Dirk snapshots scope concourse rookie Jalen Darren Pistons Shade on sharp now. You've got a white concourse rookie. Moussity of Botte Clippers We're to 149 Jaden Ivy Try color concourse bam out of bio go into the heat because I'm like Bajie. Oh really Frankie I think man Concourse rookie silver Jalen Darren for the pistons It's cool to have a relationship with him Tyrese Halliburton Kings on the throwback Jersey. What's going on out there now? It's a lot of chatter Oh, this is Bryson birthday. Oh, yeah blue rookie premiere level J. Newharty Mavericks at 249 What's up just ribbons of select having a good day. How are you got top Trump soccer next Sponjang and Fuego Lebron They silver premier level Marcus smart Celtics, we're gonna try to get Taylor stay I don't think she can be gaming Sensations is Keegan silver concourse rookie Palo magic Palo Ben caro So Jovic Yeah, it actually has been a pretty good day The gold ivy rookie on that might be the biggest hit. Yeah, it's 199 rookie Jersey auto mark Williams for the Hornets Yeah, biggest one probably a gold rookie auto jaden ivy So to lukeazebra last break scope brandon ingram pelicans Yeah, it was break six box number three was just like literally half of the even like all the the parallels were just nuggets Silver clay Thompson warriors.  It was I'd never seen anything like that in a select break before Trevor keels chat holmgren thunder rookie jersey card silver premier level rookie wizards johnny davis blue concourse lucid dodge edge mavericks 249 with the color match Damian lilor and six of 49 on the jersey car portland Where's he gonna play next year? maybe miami dame to miami would just like One up the poor zingish trade so bad try getting for the thunder like I don't see how they wouldn't win east if they had Dame add dame to that roster. You know what I mean? Try colored concourse. Yeah sex in for the jazz I'm sure everybody. 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Yeah, that's the wizards rather having pool a younger player with control over cp3 after the bill trade kelvin johnson x-factor mobility signatures go to the spurs redemption silver garland calves And fuego luka donchage mavericks light blue concourse kawaii lantern to 299 clippers I don't know what they're gonna do there Yeah, can we go probably center honestly premier level scope van vleet for the raptors makes sense Sohan Tri-color concourse rookie dylan terry bulls Court side rookie dang for the thunder. I don't know if it was either. Yeah, I agree christian brown maroon premier level paul george clippers That one's out of 175 Okay, still teams on sale for chronicles everybody Yeah, very quick buyers and morphs for sure, but Sometimes like the good thing to do in that situation is if you are a team is not like be stubborn As like to just cut your losses and like get to the next thing Everyone's gonna make mistakes, but the quicker you just like admit it and move on the the quicker you can get back to You know figure out a different plan Yeah, that's what happens when you when you win a championship though, you're like, oh, yeah, this is great We could pay this guy We're just like six man potential Wasn't even that in the playoffs. He was so bad the playoffs concourse read the mellow to 199 hornets He was one of the reasons that they lost to the lakers because this guy they rely on to score some points couldn't do it like bhaji He's still young. I'm not saying he's just gonna be like a that kind of player forever, but yeah I Yeah, they jumped they jumped a gun on it silver paul george shade on char brookie otter to 249 portlands Awesome hip blazers Nice card tricolor concourse edwards teawolves silver premiere level desmond bane grizzlies Go crazy out there today all this laughter Concourse tricolor of a cell for the spurs I don't hear he was really good during the regular season Yeah, so that's why I don't think he's gonna be a bad player at all or just You have those bad runs, man. It happens poor zingish jersey for the nicks orange vacelle premier level spurs I feel like we pulled a lot of them vacelle cards today In kelden 65 and shade on sharp. Yes spurs are like sneak. You've been really good today Obviously got the two rookies or even even wesley is kind of chasable. Yeah, nice shade on sharp Blue rookie premier level ivy going to the pistons Naruto run We get It'd be fun if you got it He asked so many questions though Silver concourse Ask questions. Just don't just do it. I'll give you money right now. Let's do it Give you a jail and Hertz card. I don't know Not a nice one. Just Prison base, dude Jersey rookie wendell more jr for the wolves Concourse blue rookie is laravia grizzly. So that one's out of 249 Yeah, I think green will end up staying there because I don't think there's a big market for him And he'll probably more inclined to stay there so on future Silver premier level ivy pistons Doesn't sound good to me. Paloban Kara rookie scope concourse garland calves. There's pizza. There we go And forest butter cookie cake Yeah Breast and turn 22 and 23 this week Concourse strike all the rookie on monday 23 on wednesday jay the limit is under dylan. I'm sorry. You're just gonna get one cake What's your birthday? Hey as long as it's important. You can get a champ. Oh, you're not gonna get cupcakes or something Oh, yeah, we gotta get something with sprinkles on it Except your niggas We're just gonna bring it. We're just gonna bring in a dish of sprinkles Fortnite cupcakes Here we go. That's it publics. I haven't looked but they for sure have a fortnight No I would prefer to get it Trevor keels tricolor concourse tray young atlanta. So who's your favorite second tier rookie? What do you mean by that? Like obviously you have like your top tier chases. Who's your favorite second tier like rookie? It's like not your top 10 guys sliver concourse jaylen brown celtics Not the top 10 guys like your sleeper guys Hornets chris paul in the jersey that's gonna go to the um The pelicans it's new orleans Are they doing well? Yeah, that's why i'm like i don't like mike mike is a ranger train. Okay. Okay, then I was like i was like i can't tell if you're trolling me right now Pelican stays new orleans Blue matherin premier level rookie So nice 234 of 249. We're gonna dust off the top left there before we get that in a sleeve and a mag Awesome matherin every time lanes walked in that we pulled some nice guards mike. We just got to actually continue to show up against the good teams We we kind of destroy the bottom feeders and then we go yaw silver kds. There's good teams Yeah, there you go vaughan with the matherin as barry smith Silver on the court side is calling sacks and jazz. It's a tough question lane. I don't know Maybe a bhaji Bhaji brannum Fallon schoonis to 49 in the pelicans auto just trying to think of like what's considered Yeah, like top 10 jada wouldn't be considered like Wesley concourse white rookie to 149 For the spurs I would say jada For going by like mark williams not a bad hobby hype mark williams is a good one That is a very good one. He was so quietly putting up double doubles for like half the season this year christian brown on a bad team with the mellow out. They were so bad Try color rookie dale and terry bulls Dyson danels. This is one for me. That's like a long shot, but Has the potential houston There is a scope premiere level rookie malakai brannum spurs terry eason On the court side rookie for the rockets scope premiere level avine for the bulls I guess top tier you're thinking like blaine said not top 10. So you're thinking like palo sharp Jabari chet jadub matherin ivy I probably could kessler up there. Yeah, that's probably chet holgren There's interesting ones like like sohan is like Right there Concourse blue evan mobley calves. Yeah keegan murray. I'd probably put up there Naruto running donnie. It's you 49 evan mobley calves We have to have someone film it Because we won't tell them, but it'll have to be made content. I like you have to Unstoppable silver hardened for the sixers concor silver rookie agbaji jazz I think they're gonna do well. I didn't think they're really solid players Sohan you got a middle 10 bucks on the auto Numbered to 49 in a concourse rookie scope nemard pacers and palo base Okay, give me a sec here. We'll recap everybody. We got soccer next. That's the last daytime break here before we do this recap I'm giving you a link for the Chronicles breaks left Yeah, so he's got a pyt with just two teams left. Let me give you a link for the uh division's case here We've got copper plaid payton watson for the nugs the 49 like those copper plaids relics Halliburton kings chet homegren ty ty washington poor zingus nicks rudigo bear jazz Wendell more jr. Chris paul that is new orleans hornets. It's going to stay with the pelicans Same franchise stays pelicans. It's crazy that that franchise Got a dame there spurs kelden johnson redemption jersey auto charlotte hornets new orleans valentunas pelicans Dantley uh with the jazz shade on sharp rookie for the blazers on the auto nice sharp mark williams hornets Okangu jersey auto Baldwin jr. Jersey auto Middleton and walker kessler Yep, because new orleans pelicans got had to leave so they went to okc and the okc band base was so good that they were like They needed to at first it was like a temporary like thing for like the New Orleans seemed to go there and then it was like oh sonics are like oh, we're out of here The sonics were like, well, we're leaving seattle and like oh, they were kind of successful And okc actually was a good fan base. So let's just give them a teen premier level rookie blue matherin paces a 249 And red rookie auto j dubb for the thunder to 99. Thanks again, everybody moving on to soccer


Hello in this lecture. We're going to find average cost According to fundamental accounting principles wild 22nd edition the definition of average cost is Also called weighted average method for assigning inventory cost to sales the cost of available for sale units is divided by the number of units available to Determine per unit cost prior to each sale that is then multiplied by the units sold to yield the cost of that Breaking this down. We are talking about an inventory method So it might be called the average cost or it might be called the weighted average cost method being a method to value The inventory for example if we sell something like coffee mugs coffee mugs will be much the same in nature We don't want to specifically identify the cost of each coffee mug Assigning something like a serial number to each identity each coffee mug because they are identical That would be a waste of time waste of resources waste of money The coffee mugs will be much the same in cost But over time there will be a difference in costs probably going up in part due to inflation So for example under a weighted average method We can take the average cost and this is similar to a method that would be estimated to fifo lifo This is the weighted average method to give an estimate of what the cost is So if we start off with 100 units at 50 that's how much we paid for them Then we purchased more units. We're going to say that we purchased in this case 400 more units at 55 dollars cost went up notice That means that we purchased 22 000 more dollars worth of units Now we need to determine when we sell these units. Which ones did we sell did we sell them at 50? Or did we sell them at 55? What's the cost of the units that we sold under an average method? We're going to take the average. How do we calculate the average? I'm going to take the first 100 units at the 50 plus the 400 at the 55 We're first going to count the number of units being 500 100 plus the 400 Then the total dollar amounts the 5000 plus the 22 000 Giving us the 27 000 units 500 dollars 27 000 if we then take the 27 000 Dollars divided by the 500 units we get a unit cost of 54 So when we sell these coffee mugs, we're going to say they cost about 54 Notice that none of them cost 54. They actually cost 50 or 55 But the average is about 54 Closer to the 55 than the 50 you might be saying how did the average get on the high side here? And the reason is because we only had 100 units at 50. We had 400 units at 55 therefore we kind of took the weighted average And that means that we had the 54 being closer to the high side because we have more mugs that cost more money That 27 000 dollars worth then what would is what would be recorded on the trial balance And on the balance sheet the dollar amount of course not the units being represented on the financial statements When we then sell the units say we're going to sell some units then the question is What's the cost of those units not the sales price, but what's the cost? They might give us the sales price has nothing to do with the cost necessarily The cost here was 50 or 55 and the average was 54 Therefore if we're going to sell 420 units Then we're going to say that they cost $54 Because that's the average and that means that the cost then the cost of goods sold in this case would be 22,680 What then would be left? Well, we have the 500 minus the 420 gives us 80 units left. They all cost about $54 Therefore we have 4320 That is what is going to be left over This is what's going to be cost of goods sold for the transaction on the sale This is what will now be left in the ending inventory on the balance sheet on the trial balance


So what is the future cryptocurrency? If you've been paying attention, you've noticed that the market has been quite volatile for the last couple of weeks. Roughly about, let's say, 20-30 billion dollars has left the cryptocurrency, let's say, marketplace, so it's roughly around 70 billion dollars right now. But as of today, it's a little bit uptick. And the whole premise of this video is I want to quickly summarize my thoughts about the space currently and where I see the space going on in the future. I get emails every day from amazing entrepreneurs, from amazing people who are very gung-ho of entering the space, and they feel like they're missing out. They feel like they're not getting their piece of the pie, or they feel like they've missed this golden opportunity to enter the crypto space, because it's only going to be for a short period of time that this is going to be available to most individuals. You know what? You know what I tell them? I tell them they're completely wrong. My belief system, based on me being an industry, talking with people, and just sheer facts, is we are a long, long way for cryptocurrencies actually getting mass adoption. And there's a couple of reasons why. Reason number one is the technology itself is not scalable yet. Bitcoin's not scalable. You see what's going on with Segwit. You see what's happening with their scalability issues for the last couple of years. They cannot handle millions of users. Ethereum is the same boat. They're trying to do that with Casper or proof of stake, but that's quite a bit away. And we still don't know exactly how that's going to actually function in Mainnet, in the real world. It looks great theoretical on paper, but let's apply that in the real world. Number two, sheer talent. So this is what BlockGeek does. We train developers. There's not enough talented people in the space. We need more engineers. We need more people who specialize in crypto economics. We need more developers. We need more talented, amazing people to enter this space and to offer value and to support the ecosystem. Go ask any, let's say, DAV or ICO that's raised money. They're all having the same problem. They can't find talented people. This is why Google goes around the world and finds amazing people to bring back to Silicon Valley. And finally, number three is, it's quite simple, the timing. I truly believe that, yes, when Bitcoin came out in 2008, the timing was perfect, but what I mean by timing for this point is global timing. So if you walk on the street and you talk to anybody about Bitcoin or Ethereum, maybe one of the 10 people may know what Bitcoin is, but I guarantee zero out of 10 people will know what Ethereum is. So the actual marketplace is not aware of it and they're not ready for this adoption. For example, in North America, e-commerce purchases on the phone is south of 5%. When you go to China, it's north of 75% on WeChat. So if the marketplace here in North America is only south of 5% on e-commerce, that tells you a lot when it comes to psychology of buyers over here, psychology of people using online banking. They have a regular fear of using their phone for online banking. Imagine when it comes to cryptocurrency. So we are in a very, very early phase in this industry, extremely early and it's still very experimental. Even though Bitcoin has been here for 8 years, Ethereum has been here for 2 years, that's like a blink. It's nothing. Especially because this isn't just technology. This is actually transforming the paradigm of how you do business. This is transforming the paradigm of how you think. And this is actually transforming the paradigm of nation-states and nationality because if money is not tied to a nation, then what's really the point of nations? What is the point of having the Canadian dollar? What is the point of having the US dollar? What is the point of having the Chinese R&B dollar? So the whole mindset of society is completely transformed with blockchain technology. So anybody watching this video, it is very early. It's not too late. So I think the future of cryptocurrency is amazing and I think we have a long, long, long way to go before we see huge mass adoption up. Andres Antonopoulos, I believe a week ago, gave a talk somewhere and someone in the audience asked him, Andreas, when do you think Bitcoin will hit mainstream? His best guess was 20 years from now. That's his best guess. It may be sooner. It might be even later. But the bottom line is where we are right now, we are mad scientists. We are experimenting in the space. So if you think you're coming around and you're missing out on the boat, you're not. You're actually one of the, what I like to coin the phrase, lunatics in the space coming very early and you're joining us in this massive global experimental experiment, this process of creating new types of cryptocurrencies, these new types of tokens, new types of systems of business because business will change. And who knows, maybe Bitcoin will disappear next year or maybe it might stay here for the next 100 years. Same thing with Ethereum. I really don't know what the platforms of the futures will be. The best guess that we can say is we can look at in the past, for example, the examples of MySpace and Facebook. But those are a little bit different. Where we're entering is unknown territory where the whole paradigm is completely different. The psychology is completely different and also the context is completely different because back then the internet was still being built. So we have this now, say, hyperactive platform that things can exponentially grow, which they didn't have back in the day. And communication is more robust, et cetera. We have just more resources at our disposal than these companies and these startups did back in the day. But so if you're watching this video and you feel, let's say, left out of the party, trust me, you're not left out of the party. There is, you're early, early. And my recommendation to you, if you want to get involved, is get involved, buy some cryptocurrencies, invest in some blockchain startups. Somehow get involved. Start talking to experts. If you need to talk to experts, if you need to update yourself on the knowledge, go to Blockheeks. There's a link below this video. Or go to our YouTube channel where we interview and do webinars with all the best talented people around the world. But the bottom line is we are very early. If we're looking at, like, the growth curve of this technology, we're still at the beginning. And yes, somewhere, like right here, somewhere over here is going to be that exponential curve or hockey sticks, but we're very, very far away from that particular point in time. A classic example right now is with the dApps on Ethereum. You have certain dApps like Bancor and Status, the shutdown EVM.  Same thing with Bitcoin. You have all these very protocol layers of blockchain that must be solved right now. And once we solve that, whether that is state channels, stablecoins, proof of stake, hybrid versions of proof of stake, Bitcoin, Segwit, you know, into Lightning Network, once that is solved, then we can start actually seeing more user adoption where it's almost instantaneous transaction, very, very, very low transaction fees, and more of a flawless user experience where, in fact, you don't feel like you're even using a blockchain. In fact, you don't feel like you're using a cryptocurrency.  So that summarizes up. The future cryptocurrency is bright and we're in the very, very, very early stages, guys. Peace.