Good afternoon, everybody. Thank you for joining us for another weekly show on Kondo Insider that is put on by Hawaii Council of Community Associations.  We're going to review fire safety things with the holidays coming up.  Everybody's got all their Halloween decorations up and now it's going to turn into The decorations will change over into Christmas, but the big thing also in between those times is Thanksgiving. Everybody's going to be cooking, especially those turkey fryers. So we really want to give reminders to everybody about the safety precautions that we need to all Remember and put into practice so that we can have a really safe holiday season with no fires would be nice. We want everybody to enjoy the holidays with no catastrophes. You know, that's the hardest thing to go through a holiday and you have a disaster, especially when we're talking about Lively hoods people's lives. So welcome, Inspector Inouye. I'm very glad that you're able to make it today. I would like Okay, so I kind of want to start off with the fire, the fire department, their website, their website and it's full of information. I mean, it's an awesome resource that people can use. Even kids can go into that website and pull up. You guys have some Cakey versions of safety material, right, which is really, really, really good because you want to start fire safety from from young time.  They were doing that, you know, but I think as we get older, we tend to kind of kind of like either forget or put it on the side, you know, But I think sometimes our kids are going to have to get the kids to remind, especially the Kapuna, right? Grandma, don't don't don't be smoking in bed or don't put the calendar and the candle over there, you know, So it's really going to take from cakey up to really instill the fire safety in everybody. So their website, really the main thing that we want to go into on their website was where the little arrow shows the fire and life safety arrow. They click onto that website. And then they have typical reminders like housekeeping. And I know for even for me, I know every once in a while I'm walking somewhere and I go, Oh, I got major dust bunnies over by the electrical. I got to do some, you know, really moving furniture around to get all those dust bunnies off the carpet or the wood floor. Plus I have dogs. So therefore, you know, gets into near those things because the wind blows it in that direction.  Especially those surge protectors and the extension cords. I mean they sit on the on the floor, you know, they accumulate all that dust, the wind blows it in that direction. So people can help me kind of, you know, it's hard to avoid it sometimes. But sometimes you just got to do that deep down house cleaning cleaning and vacuum every every single corner. So they also have it information on kitchen safety. So let's kind of start off about kitchen safety. Because as we're near the holidays. So why don't I pass it off to you and let's talk about about kitchen safety and cooking. Sure. So kitchen or cooking is actually the number one cause of structure fires. That's any type of structure or home or business that makes up 50% pretty much of all structure fires. And on top of that, something called unattended cooking. This is when, for instance, you're going to make Simon you put water in the pot. And you gotta wait seven minutes. There's not much people who are going to stand around waiting for those bubbles popping. So they go and do other stuff. And in the meantime, if there's a knock at the door or phone call or just a lot of noise and you go in a deskie, you might forget that just something on the stove. So one of the reminders we'd like to share is maybe carry like a big wooden spoon or oven net. So when you go and address what startled you or distracted you can remember or have something burning on the stove. But what is the number one, what is the best thing to do is to turn it off right before you leave. Yes, it's going to take a little bit more time but for safety. It's safer to turn it off and then go and do what you need to do and they can come back. Very important to have 100% focus while you're cooking. So don't cook if you're sleepy. If you've been drinking excessively. If you take medications and make your draws. So these are some of the things that we like to share. Other tips is the stove top when it's not being used every day like it is not a storage area. Even if you have those pots that's empty or even the covers for the burners that if it gets heated, it could eventually catch on fire. So just being aware of the cognizance of that when you go shopping or you check the meal, don't throw it on the top of the stove top. And while you're cooking, you want to keep it clear. At least 12 inches, more would be more ideal. So for instance, rags, paper towels, even those compressed canisters of oil, like olive oil spray, you want to keep it at a distance. There has been instances where it was heated up to a temperature where it actually exploded. So just be mindful of that. Anything that can burn while you're cooking, give it a little bit distance from the heat. Let's see the age group that usually or that we tend to find, forgets about, they have something on the stove is the elderly, the cocooners. So when we do our presentations, we like to ask if they still cook and if they do just be mindful that, you know, better remember you cannot walk away. We've gone to fires where the neighbors have called because smoke or things are visible or if it's not something burning. And we have to go in, we grab the potter pan, remove it from the unit. And then they come back. Oh, what happened? We found this pot on the stove burning. I forgot any green at the store. So they actually leave, go to the store, come back. It has happened. I didn't realize it takes seven minutes to boil, get the water to boil for those simons. I didn't realize it was only like seven minutes. That depends on how high the heat is, right? And what burner you use. Wow. And that seven minutes goes by fast because you walk away, you get distracted. I mean, you easily can get distracted, right?  And you let them open the door and then something takes, you know, you get notice of something so you go outside. No, it's gonna be, I just gonna take a 30 seconds to do it, but no, then something else is gonna distract you. It could be so easily done. And I used to have those burner covers when I stopped using them because so many times that I didn't realize that it was actually on.  I said, forget it, I'm not doing this anymore.  And then I passed by her stove and it was warm and she had burner covers and she had something on top of the burner cover. And I said, it was plastic. It was like a takeout container. I said, are you trying to heat up your food? And it was an elderly person. And I said, are you trying to heat up your food? She goes, no, it's my leftovers I brought back. And I go, do you realize your stove is on? She's like, no way. I go come over here and feel it. I go, it's on. And she's like, oh my God, I didn't even know, you know, so sometimes I don't even, I don't really want to use those kind of things. And you know what the other thing is where, and I haven't really heard it lately, but for a while, there used to be a lot of fires caused by the hot plates, you know, especially like the condo tells it with hot plates instead of a stove. It's kind of one of the requirements, you know.  I told you, you need to get that rid of the hot plate number 1. And number 2, I kind of told them to try to use the induction hot plate. It's a lot safer because it has an auto shut off too, you know. And yeah, and I had a hot plate one time. I don't even know where I got it and how I had it, but I found it and I started using it for something. But then I threw it away because I was like, something's wrong with this. And I have a pot on there. I pick up the pot and I would actually get kind of like shock. So I'm like, okay, this got to go. You know, and so it's not safe those hot plates. They're kind of scary, you know. And then I saw a picture of, sometimes people will have decorative things like I saw one with a wood thing that goes right on top of the stove. And I saw that I went, oh my God, wood and heat. No, that don't mix at all.   So what about candles? It's the holiday time. You've got the Jewish holidays coming up. They use candles. Halloween in the pumpkins, you know. And then you've got Thanksgiving and Christmas. People like to put candles on their tables. So that's another catastrophe that, so what's your recommendation on candle safety? So for candles, we understand there's seasonal religious reasons that people burn candles. We, HFT doesn't recommend open flame in homes at all. But if you have to, we recommend at least one foot diameter clear of anything that can burn. I'm definitely away from curtains because if the wind blows, it can easily catch on fire. And if, again, if you do use the biggest, bulkiest old candle holder you can find, especially if you have cats, cats, they're so curious, they go and knock it down. It has happened where things have gone on fire. And so there is options, right? You have the battery operated flickering candles. And if you need to smell the ambience, you've got the sprees that can give you certain smells, pine smells, or, you know, whatever you're looking for. But I brought up a good topic about animals is that cats, because they're so curious, they have been known to press buttons to a stove or turn them on.  It does happen. You never know. That's why we tell people to not start anything on the top because accidents do happen. Yeah. And I kind of saw picture one where someone had a scissors, a metal scissors on top of the stove top and I went, ooh, no, even a knife, you know, because say you're still, you didn't know your stove was on.   When it comes to candles, what about, because everybody has, well not everybody, but a lot of people might have candles because it's part of their emergency preparedness kind of thing, like when there's blackouts, power outages, they have some candles. What about the ones that come in the jar, and they have a cover that you can buy in the stores, you know? So when you light them, they're kind of like that far from the lid. How about the use of those rather than so much the pillar ones that can easily fall over in the wind, you know, or there's other, like you can see it on, what's that one thing where they do all these DIY stuff ideas, decorating ideas, where you can put like little tea lights in water, let them float in water, you know, so kind of a little bit of a safety net there. I know I've seen some where you have a, like a little pillar, and you fill it with water and you let the candle kind of go inside there, right? So taking precautions on the type of candles that you use, I mean, if you're going to use pillar candles because you really want that ambiance on that pillar candle, make sure there's something around that can, at least a fire extinguisher or something else, and make sure there's no other flammable stuff on that table that can, you know, add to that, what do you call that, when you're adding to that disaster or potential of disasters, right? Okay, so what, you know, what about smoke alarms? That's one of the areas where the fire department's really making a lot of efforts about smoke alarms, educating the public. And I know smoke alarms have been a requirement in single family homes for like, as long as I can remember, you know, it's been around forever. So what is the, what is the role with smoke alarms in your home? So smoke alarms, if you don't have sprinkler systems in your home, smoke alarms is going to be the next best safety system in place. Where we recommend you to put them is in all the sleeping areas, in the hallway, right outside of your sleeping area, and if you have multi-stories. So we no longer tell people to put it in the kitchen.  So what you're going to do is you're going to fan it or open doors. And then what if it happens the next day and the next day? So what's happening is the person is cooking or anybody else within the home, they're starting to get desensitized to that song.  But what if it's a big fire? What if it just erupted, right? So we tell people no longer need it in the kitchen. Things we tell people is we're going to test it by pushing that button once a month. So when the civil defense testers are in, it's a good mess. Let's see. A good reminder. Thank you. Thank you. A reminder that you should go home and test your alarm. At the same time, we ask people to vacuum the vents to the smoke alarms. Because if there's dust or insects that go into the smoke alarm, it can actually deteriorate the mechanism inside, and it will not say it's long, right? Today, if you go and look, there are smoke alarms that have a 10-year lithium batteries. So guess what? You don't have to change your battery every year. So this is just a battery-operated one. There's also the hard-wired one. So there's pros and cons to both of them. The hard-wire, you have a 9-volt battery, so you are going to have to change that battery every year. If the hard-wire one goes off, most places, all of those that's connected within that system, they're all going to go off. So it's great. Everybody gets notified. But the thing is, where is the fire?  And if you hear it, okay, now it's coming from the right side or the left side or upstairs. So you can go investigate that way or you can exit. So there's pros and cons to both of them. Life expectancy for a smoke alarm, battery or hard-wire, we tell people about 10 years, unless it malfunctions before. Like everything else, there's nothing that's, that may last the whole entire life expectancy. But if you can do your best to maintain it, then it'll probably make life expectancy way better than that. So I also just kind of want to remind everybody that's supposed to be above every doorway. That's the code requirement. Can't be in the middle of the hallway, even though it's only the hallway is that big, you know, it still has to be over every single doorway. That's the code requirement. And then for people that rent their units, I know the Hawaii Association of Realtors or the Hawaii Board of Rituals, they updated their rental agreements. And one of the standard terms, I believe, is in there that the tenants are not to screw around with the alarm, the smoke alarms. That's one of the requirements. And I know for me, I usually, that's the, that's when I go do my yearly inspection is that I come prepared with the battery to replace it. You know, so that's another trigger to remind you when you're doing your inspection, you can bring the battery placement with you and replace the battery at the same time. And yeah, like you said, there are some lithium ones, because I do have one that I bought a while ago that I was like, oh, it's the last 10 years. You know, for, and for me, I'm like, oh, this is kind of cool. You know, I'm short and I'm like, when I have to test them, I got to get on the ladder.  And it depends on the also the price that you pay on those some of those batteries because some, I mean, smoke alarms because they're some of them may not last because I had some that I hadn't put up yet. And I'm like, okay, I think this one malfunctioned. I haven't put it up yet, but it's not doing what it's supposed to do. And it was only five bucks. I just tossed it out. You know, but that's the important reason why you've got to test them every year to make sure that they're every month. Every month. Yeah, every month. So that makes sure that they still work because like anything else, they do malfunction because especially in the white environment with the humidity. It's going to get into some of those that stuff.  You know, and if you don't have the proper ventilation when you're taking a hot shower, that humidity can affect that. That smoke detector. So that's a good point. We don't put it in the bathroom or near the bathroom because of that. If they do take a hot shower, the steam could activate it. Another thing I can bring up is why is it in the hallway people may ask is because it is found by a third party company called underwriters of the laboratory. They do a lot of testing. And it is found that it is safer to sleep with your bedroom door closed. So if your bedroom door is closed at night, while you're sleeping and the fire is outside of your room, and the smoke and clean heat comes down the hallway, it'll get after the. So what do you do next if you're sleeping and you hear it, you're going to get up, and you're going to test or check the door see if the fires right outside of your door. So use the back of your hand, start from the bottom of the door work your way up. What you're checking for is the heat. If there's no heat or increase of temperature, you can try and you can check the knob, the door handle with the back of your hand, or maybe like a really thin sheet dress shirt and see if it's hot. If it's not opening up slowly. If there's a lot of smoke coming in, close the door.  If not, 911 as soon as possible. Very, very important is to activate the 911 system as quickly as possible when you're in danger. Because we'll show up and can either get water onto the fire or get you out through the window if you need to. Okay. And also on the fire department's website are fire escape plans, and they make it very cakey friendly. So you get your kids involved because they got to know where to go and how to escape the house in the event of a fire. And with a multi generational living in a lot of homes.  You know, because I know sometimes when you get older, you get stubborn. Well, the fire departments here, I hear them coming, I'll be okay. I can, I can hear my mom saying that. Well, they're here, so I'll be okay. I'll be okay. I'm like, no mommy, I gotta get out. You know, and so the fire escape plan. I know it fire escape plans apply to everybody, not just single family homes. It applies to townhouses and applies to condos. I mean, even office buildings have the same requirements.    I was in a building, a newly renovated building, and I swear everywhere I looked when I walked around, I saw the fire escape plan on the building, I mean, on the walls. I was like, wow, they got a lot of these on the wall. You know, I was kind of surprised. But get the kids involved in fire safety so that they understand they're not being, they're not in, but fire happens in the house and they don't, they've never been through one of these or been educated on a, on a, on a escape plan. They're going to be lost in what to do and they may hide, you know, like in the movies, you see a lot of them hiding underneath the bed, you know, and, or in the closet, you know, and that's not really what we want to tell our kids to do. We really want to give them the education to know what they need to do in the event of a fire. So, even if you live in a townhouse, single family, a condo in office buildings, they all have fire escape plans that are developed and should be published. I know some condos they put their fire escape plans they included in their households.  Not just owners is given to the tenants as well, the people that are renting. So what about electrical cords? Tell me the difference between a power strip and a search protector. Okay, so the difference of power, they can look identically the same. They can look identical side by side. If you don't, if you didn't buy it or purchase it, and if you don't look real good, they can look identical. One of the things we tell people is when you do purchase them, read the box. What does it say? Power strip or search protector. And another important thing is what can you, how much appliances can you use and plug into it. So power strip is pretty much just an extension of the wall outlet. You're going from one outlet and you're adding four or five more possible outlets. Even though this might be tested by the underwriters laboratory again like that testing company, you still need to follow the manufacturer specifications. So let's say you have a coffee maker or microwave oven and plug it into a car or even a search protector. If you read your directions, they tell you not to do that. Any appliance that produces heater code should be plug directly into the wall out. We do recommend search protectors so they, the thing is if you use it for that said entertainment center and a search comes through and then it damages your TV or your computer, whatever you have hooked up to it, but you use it according to what the manufacturer says. There may be a possibility for you to recruit some of those losses if not all of them. So yes, we do recommend a search protector over a power strip very much so. And a search protector normally would have that button whereas a power strip wouldn't have that button that reset button. Some I believe I've seen it I think it might be age. So yeah so some of the power strips may have that button. Yeah, but if you look at the new ones, that might be the difference. But again, you got to read what you got right you have to know your tools. Right. Oh, go ahead. Sorry, even though you do use the search protector, you have to know how much that particular search protector can power. If you over. If you put too much appliances in it that uses too much power, it's not going to work properly. So you have to read the direction. Right. So I know on Amazon I bought some that have on off switches, which is kind of cool. I really like it. I use that for my flat iron. Although the flat iron I have had an auto shut off. But for me, I just flip the switch and it turns it off. And I turn it on what I want to use it. It's just more convenient for me because sometimes I forget to turn it off. You know, but I don't forget to turn flip the switch on the bottom. So very, very important to know any appliance produce or meet and even some from out of out of country. So if you look for the UL with a circle on, it's going to be either on the appliance itself, or maybe on a sticker on the court. But you want to look for that because, again, underwriters laboratory they test these appliances and make sure that it meets the United States safety standards. Versus if you go to Amazon, you're not sure if you're getting one of these appliances, it might be from somewhere. Check your appliances. Please make sure they have that UL and circle. Okay, and then we're kind of out of time, but very quickly. Turkey fires. Don't use them. It's dangerous. You have to use the right oil and you cannot overflow it. Right. You can't use it under an E. It has to be away from the building. It's very dangerous. Yes, the turkeys taste delicious, but you have to use caution. We do recommend. We'll get professional deep fried turkey. Yeah, a lot of restaurants, you're some of the bars that serve food.  Yeah, turkey fires and Thanksgiving.  I mean, yeah, me and my husband did one, but we, I'm like, can you move it onto the street? For real away from my car. You know, so it you got to do it right and make sure you don't overfill it. And the turkeys got to be at room temperature. It cannot be cold. At room temperature. It's not doing a turkey fryer is not a last minute decision. Water and oil do not mix. Right. Right. You know, so you got a plan to do to fry your turkey. Okay, so one last other thing. So we will see you again on November night at our white council seminar on fire safety. We're hoping that we're going to include some other things that we have the other county fire departments included on this. They're going to be via zoom. The other ones are going to be via zoom and then we have a law that's going to be at the country club. So we hope to see everybody there and to get more of an in person on fire safety. We're also including some other agencies. There's a one that I found was to wildfire in there. They is an organization that can build have volunteers help with the vacant land.  And also, we're going to look at all the other islands. We're going to look at all the other websites and to show everybody where they can get this information on fire safety. I mean, they're all PDFs. They can print it distributed out to the residents. So it's really easy. So we're going to give everybody the tools. Where to go for the information. It's not like they have to. You know, it's not that it's not out there. It's available everywhere you look, you know, the individual fire departments websites NFPA has also some stuff on there that's really good. Thomas, I will see you on November 9th. So look forward to seeing you along with a lot of our other condo board members there in person at a local country club, November 9th. And the doors are going to open about 11 o'clock with brunch at the country club. So thank you for joining us today and look forward to seeing you on the night and another series of condo insider.


Thank you Many thanks for coming back. I am loving the lively energy in the room Thanks for thanks to our amazing panelists provocators and We'll invite you to continue the conversation afterwards maybe outside to the theater So for a sake of time because we do have to end At the planned time. So we will just move on with our next artist provocations So it is my pleasure to introduce you to Emmanuel Levin Yes Emmanuelle You can find in the program currently head of dance and performance obozar in paris And Tara Lorenzen Who is dance director director of the dance program at Bard college Among others both Um fantastic dancers makers choreographers. So thank you Is this uh, oh, thank you for Remaining here because it's has been a long day and I have to say that I'm very impressed and happy to be here because there are lots of Uh levels and of different of friends from america and from france and it's really It goes from my whole life of as a dancer like a renewed man being one of my teachers And yeah many people and people will recognize themselves of course or peers like and color also so I'm touched and the thing also is that we heard the both of us so many things so many interesting things That it's a bit heavy to To now talk, you know, so we we talk to talk to each other that we want to make it simple Simple for us because we could let's say comment or try to answer to all that All what what was developed and very strongly developed. So Yeah, we just who would try to survive this strong emotional and and Artistical and pedagogical moment, but we try also to To be precise and and maybe to make some issues for us today in our different positions Relevant or understood So i'm just to describe where I am now. I am in beaux-arres de paris Which is in a visual art school It's my sixth year there and the position was created Was created they they were looking for a dancer A performer and a choreographer So they did three night they put they did put the three names In order to find someone And I would say that I think I was chosen because I was a dancer A choreographer and someone who also had led the nationals dance school in angers Before no way of course and before Robert Swinston who stayed a few years after me So I think that's also I have the feeling it was a reason To choose someone who could think globally education and before both art school just to To clarify also After Angers, which was 2004 until 2012 I was hired by a national architecture school in not Where I did Love a door To learn so much. I was not understanding the vocabulary and I was teaching to those people Physically and also not theoretically, but I was giving examples of Strong revolutions in between in our field connected to architecture or space or landscape or whatever But I had to learn to understand what they were talking about themselves. So I'm just finishing my thing The more I age It's getting worse and worse the more I love Learning so I'm staying in teaching positions because I want to learn And that's where I am now in in Bosa learning a lot and trying to learn to the people through body What they want to do which I don't know and they don't know neither. So I love the fact of processing with people Who don't know and me neither of course. I know things that I can so movement Breaks the knots of the thoughts through moving together Sorry Not at all. I could listen to it all day Um It's quite an honor to sit next to this woman. Um, she's a brilliant artist. She's a brilliant dancer And she's a brilliant creative administrator Um, so for many many years, uh, I've been in conversation with Emanuel unofficially So it's it's been nice over the years to actually meet and talk In new york, but also in france. Um, I also want to say there are many teachers in this room um, officially teachers uh artists teachers Uh citizens and so it's it's a great privilege to speak In front of all you all of you and I will call on many of you to help me with this because Um, I am I'm not necessarily a choreographer. I'm a collaborator That's where my heart is at barred college where I'm the program director as well as a visiting associate professor of dance I came to barred in a not very conventional way. I don't have an mfa um, but I did Work with merc cunningham for many years as part of the repertory under study group um, we created ice space together and it was a pivotal moment not only Working with mercs, but also being part of the studio which nicole bloom can talk to Also, it was not the merc cunningham school and company. It was the merc cunningham studio Um in in in that space. I really did interact. They had a really fantastic visa program So I got to meet students from all over the world that were attracted to merc's work um and then from there I Uh left mercs and had kind of a A moment of what do I do now and I became a waitress at suen. I don't know if anybody remembers suen Um a macro biotic japanese restaurant on 13th street also a spring street location um And I have to say it you know It it was also one of those moments like my time with merc's I met a lot of people with a lot of different needs dietary restrictions But it's also where I you know Saw christopher williams for the first time and he was like, what do you do you need it? Do you want to do a project? I was like, yeah, and here's your kale salad um So but it taught me to hustle and it taught me to keep moving And it taught me to interact with people who speak different languages Um and to how how do we how do we deliver this show? under a lot of stress with food Um with a lot of different cultural backgrounds. How do we do this? um And then from there I uh worked with kim bartosik who might still be here who um was also um a great teacher of mine and worked with merc's Um, so he shared a and that's where I met cedric andrew Um as well as daniel squire and dairy swan and they they helped me through a time um all the while I was auditioning for trisha over and over and over again um Irene was there um But it was okay like because I knew I could keep going back um And then it uh, I I started working with steven patronio who was a protégé of Trisha's her first male dancer am I right? Yeah, um very different work um But there is a A ferociousness to it that really was a a nice bridge actually from cunningham to trisha was through this other other voice um, and then I got the job with trisha And so I had to leave steven who is now my neighbor in the cat skills actually um And that changed everything I finally I finally got it um and I um We can get into that later, but trisha brought me to france Trisha brought me to france trisha brought me to hong kong And trisha brought me all over the world And that was something that was really important to me and through that is how I got into my teaching practice And with merce there was always a teaching practice. Um, but it was more games based and in cage Chance mechanisms was with children, which is really where the education starts um And then yeah, so I was with trisha for many years and went to barred through a partnership that was created with maria simpson and janet wong through the bill t jones partnership And then after the bill t jones partnership with the dance program trisha came and that's how and I just stayed And I solved lots of problems In within the small liberal arts um as you can imagine sabbaticals happen emergencies happen and What's wonderful about barred is that in the faculty we share the curriculum all of us teach technique All of us teach camp all of us teach dance history and we're quite a We are an international faculty Suleyman bedalo from britkina faso yvel galegos from mexico Maria simpson who specializes in ballet and anatomy and myself And the fifth partner in this faculty is now villa albertine So through villa albertine, we are able to bring new international Scholars um marcella sandhanders with us this semester as well as volmir cordeo um And we can talk more about that later because marcella and volmir both studied with immanuel hoon you proposed that I could witness the fact that There was an important moment in the 90s That gather some searchers dancers and choreographers and This we ended up by being 55 And we were not we were not from the same aesthetic or from the same Kind of dance. It was contemporary dance, although but um We had a reaction against a political decision to make To decentralize the committee that could judge the Could evaluate the The projects and give or not money so this Deconcentration of credits. I don't know. It's really a Literally translated the concentration of the credit made In each region where the ministry of culture had presenters They would have a commission And at the time we were start starting our works As choreographers and we we heard a lot that what we were doing was not dance The first piece that I made was in the darkness and people could not see me and then people were saying Although she's doing visual art now. She's not dancing anymore I was dancing naked in the darkness. Of course people could not see but it was Uh a first gesture wanting to clean Wanting to clean the Look and on what was there and how we look at the things so In in my in my situation We were menace that of course you might know like rashi no ramdan loik 2z Boris charmats elafatoumi rick laureux olivia grand ville julia sima Isabel lone from paris 8 christophe Patrice barthe so i'm i'm naming also Catherine contour lots of different people And people that you of course might don't know But we had the strength and the necessity together together to try to answer to this question. Why Do the people not do not perceive that we are doing Dance or that we are doing art that we're doing something So we had really to analyze for four years one the rhythm was one One day a month and one week per summer About one sub about the subject first was the transmission Since the people were saying that we were not doing dance anymore What were we doing so we had really to analyze where we were coming from So some of us were coming from I mean, let's say real Schools, some of them like it's always coming from an art school or Catherine contour from a a gardener in school, so we had with we worked on that and then we worked on collegiality collective Collège There was a third word about being together this gave us a strength and it did it was a moment of auto formation of us how how can we Transform ourselves ourselves and maybe the main thing that we did is that I think for me Regarding the fact that we had to listen to each other. We had to understand what was the point of view of the other was that If we were making pieces Which were not at that time Welcome We should then work. We should do double job Which we should do the piece and we should work on the context of reception of the piece So it's something that still remain in me Wherever I am I have to we have to do the job But we cannot just do the job. We have to do the job At the same time. So I think that's that was a very strong moment Because of that that gave me the strength to to apply to direct Angers And I could really write easily this project because I was full of everyone's you know full of all the the voices of yeah and isabel lone in that was very strong or so or christophe avle because they were Writing a lot. We were writing with them. So although I did study philosophy It was really such a strong help to have theory people with us, you know also trying to Make wider even what we were saying to each other So writing Angers was in a way for me Taking with me the voices of of my colleagues and that's really where I tried tried to to lead it I I asked to some of some people of the senior to be a committee So this school during nine years has been directed by Different voices. So visual art one visual artist, of course dancers like Louis today or sylvan pruneck a critic in art a philosopher and also the pedagogical director So then isabel from barry eight or julie pera Or isabel gino So so that the school could not be Could could never be stable Could should be in crisis all the time and we were in crisis all the time because we wanted to take feedbacks all the time of the student So as you know, we do we have feedbacks and we're like, oh my god Oh, it was not so good what we did. So It was really a very tiring but so rich moment of all the time Trying to rethink all the time Yeah, maybe this first thing is important to say But maybe at the end what I was aiming I was Trying to understand what I was aiming this morning when I was listening to Rafael or noe also, and I'm happy to see noe also now doing what he has to do and and he was in angers when we organized schools which was the the mother or the father of camping in In cnd when we did organize schools He was with the students of parks and I remember we were walking to go to eat in the In the Somewhere, I mean all the students and the faculty members And he came to me then he was younger Why are you doing that It was really nice that a student would Ask why are you doing that? I said why what what? Gathering 12 schools Gathering 12 schools together and faculty members exchanging and students And I said, yes, it's a bit like what we did with the signature du vin oud We really have to confront our way of seeing what is pedagogy. We knew that in France since the 2000 Things had been changed very much more international So I'm just saying that because I was so happy to to it was such a cycle that this young guy arrived after having thought Why are you doing that and he's doing something very personal also there Maybe what is linking us Apparently in an easy way Is that my own curiosity made me ask to Trisha Brown during 12 years, I think questions and she was okay to answer to my questions because I was not asking the same questions than journalists and there was an answer admiring so much her work and the dancers that are here and So 12 years of interview and interviews And maybe the main thing which I still have in mind which I think I'm going on myself is that she was telling me that I was asking her things about the cycles of her work Seek le vaillant a stability molecular all those incredible things And then she said, you know, I just hate to do what I know And I felt immediately after my first piece That I was already maybe for the second one thinking in the same way And I was like, oh my god, I'm done. You know, I did one piece. I'm dead already because of Maybe thinking again in the same way So Trisha has been for many things a mentor or Or someone yeah a strong woman But mainly I think because she was wild for me in the way that she didn't want to step where she already stood And in this way, I think I'm a bit unstable like that in the way that Okay, I love teaching to dancers. I've been I mean really devoted for nine years sleeping really few And working like hell. I did adore it But being in an architect school is also make me unstable And being in a visual arts school. I love the fact that I am in a minor position Where the major is sculpture painting Installation but the fact of being the movement The body as a medium or the body as a point of view I Love this situation because it makes trample Everyone meaning the people who are in my studio and the school And mainly because they see a group and that's dance also dance. We practice together We move together. I teach things physical things Or not physical things or invite people but we do work together And that's a big difference because in the other atelier teachers pass by To look at the work of their students And they make sometimes global meetings, but they don't formally teach or be with them in an attitude of research at the same level And in dance we do that all the time through the movement or through what we See improvisations research questions so The fact that there is a dance atelier in this visual arts school Changes the school in the way that there is a community who is performing the fact of being together The fact of we are together, although we are different Although there are the first the second the third the fourth and the fifth year in each atelier so Dance is so active in many ways The fact of just being together And maybe saying a last thing before we can exchange again about how Trisha allows us to be or allow although I think she was not an easy person or the very hierarchical Company that was her company It was was also I think heavy. I could not have a time to such Function, but For me being a dancer is wider than being a dancer I mean that I do dance to be able to understand The world or to heal sometimes or to help so again, I'd love to say that since the the 7th of october And the 22nd of february The wars of this year the coven I think the shift is so strong for everyone That it's impossible just to think dance as a dance as dance So what I'm trying to to share is that Dance is working or making dance is is addressing To the city To the society to the architecture, but wider wider than our field that I love But it's not For me a closed field. It's a field that is trying to sink The life so I'm trying to really be with students in this spirit So I would ask you Because you've been going through lots of Dance also dances or companies that I didn't know So what do you think you were allowed to? Let's say meeting someone like treasurer because it's our common. Let's say the beginning of our talk was that Yeah, where did she allow you for me it was to step aside from myself And to be suspicious Well, she's very suspicious and again, I I spent some time with ankle loo This week up at ps 21 in chatham Elena Sienko. Where are you? Thank you for organizing that um, and I had I will answer your question. I Had the opportunity to spend some time with lisa nelson And this is a person that had a significant Again Affect on me, but through writings, right? There's not that much out there about the and she's a bit of a wreck loose No Um and her work with steve paxton. So it was a very special moment. Um, and I wanted to be very careful about it and so We were talking about steve paxton And that he was one of these dancers that got to experience trisha and merce as a young person while they were young And how that influenced him and therefore a lot of other people And then I got to kind of experience them At the at a different period in their life Still making still dedicated to making both merce and trisha were very dedicated to making but they were hurdles But it still was had to be done And I think that's something that I really carry with me Every time I walk into the studio with the students, uh, whether it's ballet cutting ham trisha comp dance history I have to land the plane And sometime I have to land the plane um Fonce I don't know how to translate that but but there's There's a great responsibility when you walk in that room and you might not donna fe you might know this too You might not have all the answers for that class But you you turn to them to help you land that plane and I think That's something that both trisha and merce You know trisha went to mills to teach and she was like, I don't think so. Thank you very much The academy the academic bureaucracy It can really I mean will probably knows this too. Like it can as an artist and a dancer kind of It can get heavy. You probably know this too. Stephanie. Um, so kind of referring back to trisha and merce And all the other teachers I have in this room like you just got it You got to deliver something you have to deliver an experience. It's a deep responsibility It's a deep, um To not only the teachers that I've had but to the next generation of teachers Linda put it so beautifully Each dancer what it was that every dancer is a school And something that you created that then is now at cnd camping that I get to experience This extraordinary program where I get to work with her students at bozards And she may work with bards students or you art students I got to watch linda in action I got to watch linda teach a class And for a teacher and a dancer to experience that Is quite a gift and it's not something that happens very often Um, so thank you And I don't we there's so many people I've been talking to today that could add to this conversation. Um, but Yeah um I would like to give an example where the work is located at the moment and it has to Do with the villa albertine Um The former person here um Before and before diane was sophie clodell And at one point she wanted to invent a carte blanche a program To free her own team to be all the time answering to the needs the same needs to Dancers who are coming to perform or other other arts And also to make the dancers Um or the artist because it was not only a dance program to make to to make the artist work With the city We were not working with the city anymore.  I said but yes, but what else and then She she invented a program where we could come two times Try to understand it was a luxurious Luxury to be able to come two times and um, I started then To think wider than dance. It really helped me to speak wider or to to think wider because I had to think to this extraordinary city where Post-modernism started so I knew that the architecture of new york did inspire treachery or deborahe or I mean deborahe was somewhere else, but it did like even also so The the jutton church people Works were also linked to the architecture or the city itself So I started to think okay. I'm going to do A research on the places that free those people They wanted to free dance from the theater. So let's study that and after a while I thought my god I'm going to go back to the people that I love, you know that I already invited in angers I should I should make it wider for me. So I thought Let's work with the citizens and um It started by investigation Of people who are Who were practicing their The city like a taxi driver Like an architect and like monuments that are in the city I'm not going to describe the whole thing, but this first step that sofi offered me Was like investigation Questions about the relationship that everyone has With space The space where he lives or she lives The space where he or she works and and the city by itself Then it gave I invited just like a ton son visual art visual art visual artist, sorry to Films to film with me what the people were talking about and also Movements of those people in the places they were talking about And the result of that or movies Where we see the people Talking Moving in the space they were talking about Talking about their work talking about how they this this taxi driver was practicing the city through His car how he was knowing things by heart How this architect was only talking about architecture never Massaging the architecture never touching the architecture. So It gave us it gave me gave us another way, I mean a new way to think what dance or Movies could be in between poetry and the investigation and dance and also Learning lots of things so after that since I wanted to Establish in San Jose, which is a harbor And I didn't understand why exactly but there was those big shipyards Places I think I was fascinated by the work That we could see from far We did two years of immersion in this harbor and made also a portrait and Ashley the Oyo's who just asked a question this morning about the fact that art was taking care of artist and real life did invite To make a portrait of the city of houston and that's why I'm here. I'm on my way to houston And we are going to create next week This film and the performance that will Activate this and I just want to share how methodology there Each portrait is different, of course, and we are always taught by what we by what we do So since when the stood that houston was a young city We we asked to inhabitants some inhabitants What was the city of new york the city of houston before being houston? How did houston become houston? What was the creation time like 1837? And how is houston now and maybe What would be the movement that physical movement that could qualify houston so interviewing some people like that We have so many different Versions of what houston is. This is just crazy of course we We interviewed the mayors team was performing vietnamese woman Afro-american man Hispanic person They're performing the fact that houston is the most open city and the new model of united states We did and this the answer to those three questions one entrepreneur who did Make his money and his family from oil Um three two or three Two or three artists were either mexicans either American from there And we had also to meet this uh lipan apache woman And we learned we understood That this very strong truth that there is place for everyone in houston everyone has his or her chance But it was sat it was sitting on the fact that The first nation had to leave So it was so again so strong to be To be in front of really strong realities for everyone It is true that this lipan apache had to leave all the parents her parents. It is true that she had to buy again Lands to be able to bring bifolo back here and to transmit the fact to the younger generation of apache that bifolo's or partners in life that nature is a partner in life But everyone has his or her own way Which is true To understand what is her and his city So it's called lens land on plural because Because we're talking about the same lens which has a very strong different meaning Or history even Oh my god We have um we have a sign that we are almost done um Digital artists it just it keeps evolving and I think that's what's Oh, okay, I should probably use this but should we open it up. Does anybody have any questions? Yes, Irene Yeah Josh had organized Wesleyan a big creative Opportunity for a lot of things to happen and he was showing sky map Up on the stage and I was supposed to go up and talk about it. So I contacted the Office the archives. I got a whole bunch of papers sent to me And unfortunately, I've never it never materialized. I couldn't go up But I in amongst those papers it said that, you know, trisha Was pregnant or right after she gave birth to her son She couldn't dance. So she said to all her friends send me scores And it was one man. This is mid-60s. So it was one man that sent a little postcard I can't remember his name From france and say this is a dance because I say it is so So she really Took that to heart and then she had there was another score that I absolutely love the name was olivia or something was some female name and it consisted in Trisha dressed in a dress a big hat had a big afghan Dog that was named olivia Walking for half an hour down the street smiling Just smiling and she said she did that because she wants somebody all who saw her Would then tell their friends about this woman smiling on the street And that would tell their friends of smiling on the street. So her work would be spread through Through the streets And I just thought that was like so lovely. So I wanted To share that and give that to you dancing in the dark Maybe making a last link to uh, the issue of residences lens was Possible to make because we were invited by diverse works, which is a visual art center And also because the curator that asked her to do this Who offered to do a portrait of the city of the Of houston ashley de oyos has been deeply Interested herself and committed in the fact of making possible the fact of Going Following the bayou Wanting to to meet To meet first nations. So she was the resources were so various Which was not I mean Yeah, which was not a dance or visual art Thing but the the need were Absolutely hurt. So that made possible the fact of Of meeting inventing and and daring so Thanks a lot to to this program, but thanks a lot to This curator I have to say I Think on that note of residencies too. I just want to thank again villa albertine Diane louise and especially nicole for creating this partnership. It took Years to kind of get it going an international partnership with a small liberal arts college is No easy task, but I've learned a lot about j1 visas Um, I've worked a lot with the international office of the scholars And also it's just been wonderful to invite international Artists to the campus and then that there's so much that happens from from that across departments Also, there's so much happening the Hudson valley right now with ps 21 Kotz spawn You albany tatiana is coming to barred on tuesday as Through our relationship with you albany to teach So if anybody's up there and and then oh my gosh ash impact, of course Of course cat scale mountain foundation. There's a there's a lot So if you find yourself in the Hudson valley, let us know. Yeah, nicole. Do you want to say Maybe a last thank you that we already said but actually the alias came to Joseline and I because nicole was making this those threads So that's also very important to have Someone who knows so deeply so deeply the art world in france and here To really so So kudra two things like that. So of course Thanks to you And just to say one jiru said the same thing one jiru said you Your dance is in all of us We're dancing all of us The beautiful place to pause. Um, I want to thank you both Taray Manuel, but everyone who has presented today um Yes, I want to attempt to you know summarize unpack any of it tonight. Just leave all of those Rich and dance lines dancing together. I hope you come back tomorrow morning We will start at 10 a.m. With will rolls here present and Dorotin. Yaneza So please arrive on time And we shall continue the conversation Tomorrow. So thank you very much for being with us. Thank you


In this section, we're going to look at some plotting. This is a bit of fun.  Now, that's the way Julia works. You can use Julia to add to the language, writing some program, which extends the functionality. It's not part of the base. Julia itself, you have to import it. And we do that using this command using, using Gadfly. I just want to go back to our start page here.  So it's already compiled inside of Julia Box. So when you import, it's going to be quite quick. When you render your first plot, though, it might still take long. Now, if you're running Julia off of your own computer, you've installed it. When you import a package using this, using commands, it's going to take quite a bit of time. But if I execute this line of code, you'll see it's going to be quite rapid. Now, we're going to get to how to do functions. So don't be too worried about this. I'm just using the function f of x and the function g of x being the sine of x and the cosine of x. So don't worry about it. We'll get to how to construct this and how this works. Plot itself, we're going to have a big look at GetFly and how to plot all sorts of interesting things. We can just use this plot function. Now, it does not exist in Julia. It only exists because we imported GetFly. We imported this package GetFly. It takes these three arguments here. The first one you see is inside of these square brackets. It's very specifically. So don't worry about it. We'll get to it. And these two values here is the range on the x-axis from negative 2pi to positive 2pi. So we're going to plot sine of x and cosine of x over those values. As you can see the little star there, that cell is executing. And I warned you the first time that a plot is being rendered. It's going to take a long time to be even longer on your own, doing this on your own system. So at least the importing of this package was quite quick using JuliaBox. But you'll see now that the rendering, all the compilation of all this code and doing the render, that takes quite a bit, quite a bit of time. And it's going to be a while before that plot appears. But there it is. It was really worth the while. You can even zoom in a little bit. Once you've zoomed into it, you can actually drag it around a bit, zoom out. But beautifully there, we see the sine of x and the cosine of x from negative 2pi to 2pi.  So it's just doing that all on its own. There's another way to construct it. I needn't have constructed it just as two functions. I can just inside of the square brackets say do for me the sine and the cosine of pi. And you see the second time this now renders a graph. It's actually quite a bit quicker. But that is really beautiful indeed. And look, it's right inside of your notebook. So my notebook has nice text, formatted text that has code. It has graphs in it. These notebooks really are phenomenal. Let's do x minus 1 cubed plus 1. Let's just play with that. So I'm going to create that function called h. It's going to take an argument x. And this is what the function does. It takes a value x and it renders that for me. I can say now plot h from negative 5 to positive 5. If we ran that, we're going to get this beautiful cubed graph there. I can also do this. I don't need to put in a function there. I can say make this a function of x. But look, just be mindful for now. At the notation, it's this minus greater than sine. So this is like a little arrow of 1 over x from negative 4 to positive 4. The reason why I showed you this is not because of the construction of this.  This is hyperbole. That should be on either side here. But it does draw that. So it's a little bit of an issue there. Most computer algebra systems, plotting systems are going to do that. So what we can do is let's just constrain ourselves. I should say from 0 to positive sides. We're only going to plot the positive x's there. And if we do that, we see that that line disappears here. And we can see it's a hyperbole. Okay. We can just look at the error function, for instance. So I could have called this a function itself, called a function then. But I can just say x with this little arrow sign. The error function from negative 3 to positive 3. And we'll see this almost distribution function. The error function here beautifully plotted. So that's just to wait the appetite about the beautiful graphs you can do in Julia rendered right here in the notebook. So quite a bit of things we've gone through. I think you get a good understanding now of at least the mathematical capabilities. And we've really just touched on it. I mean, it gets a lot more in depth than this. But you've got a good feel for Julia, for the notebook itself. How beautiful the notebook is. It really is phenomenal. And how you can write your little cells, code cells, and execute them. We can write quite complex code. Multiple lines of code inside of the cell execute them. And it works beautifully.


You are about to witness an epic Tarot Magnus reaction. Man, oh man, so I got this request last night and I was like, oh man, I got no, I mean like, I got it like 12 and I was so tired, I was like, I can't do this reaction. But I downloaded like four videos today to react to and this one I said I'm reacting to last. I got to see what IGN has done with this that I know is going to be good. I don't think it's going to be crap, it's going to be good. So let's get this in. What Spider-Man would look like in Avengers Age of Ultron? Trill or mashup, there are no strings on me. Let's get this. You know what I noticed? It's something that I really like how a lot of the guys have cut together certain trailers with Spider-Man in it. One with him perched on the building and he's like, it always looks something about it is always epic the way y'all cut it in. It's always like right there.  But then there was another one that I saw where they cut it in.  And you know what y'all? Now we know we're getting Spider-Man. So many fan trailers are made with them, you know, with him included in it. And it's just something you want so bad. I'm almost about to get tired of seeing fan made trailers with him fighting alongside them. Because we've been wanting it for so long and we should have had it, you know what I mean?   Really. It's only more money for you all if you band together and do all these different crossovers that are part of the same comic book universe. Anyway, you get what I'm saying? Even the ones that aren't. Even the ones that aren't. Like you got DC Marvel crossovers. It's been done before you were able to write a comic book for it. That means you can do a movie for it too.  It can be done. There is no such thing as impossible in movie land. It can be done. It is fiction. Get together big wigs. Talk it out. Have your guy get a win and that guy get a win next time or whatever. Whatever you got to do to make your guy look the way you want him to look. You did it in the comic books. You can do it in the movies. That's all I got to say.  But I had to say what I had to say. All right. If you liked my reaction hit the like button. If you didn't hit the like button. One million subscribers would have 100,000 subscribers. It's on the way. Woo! You may now subscribe.


You can raise your hand. There is no one else, so we will close the public hearing. Commissioners, questions or comments? Commissioner Miller. Thank you, Mr. Chairman. So I'll begin with questions for the applicant. So it's everything inside the loop. Can you tell me what it is you actually plan to do? Yes, we have a proposed site plan under review. We are demolishing a number of... Katie, could you get closer to your microphone? Okay, yeah, I apologize. Yes, we have a site plan under review currently with the city of Durham. And... And you're gonna demolish your building. Can somebody show us the old site plan, which actually shows the buildings very conveniently? It might be more prudent to do a Google map, if that would be allowable just because of what the site conditions are today versus the 1988. All right. We don't have an aerial with this site plans. I mean, with this staff report. But so which building? So you've got a whole bunch of cottages and things like that around the loop. And then in the center, there are larger buildings that look like they're in a combination of one to three stories tall. Is that right? I'm sorry, my connection dropped for a second there. Can you repeat that question? So in the forest of Duke, all around the peripheral, there are cottages and one story residences, I suppose some of them are duplexes and that kind of thing. But in the center, there is a large multi-bay, multi-wing building that looks like it may be as tall as three stories tall. What building is it that you plan to replace? So what we plan to do is there are existing cottages within the loop on the west side. And there's also a western wing of that central large building. And in two phases, because we will have residents on site throughout the entire phasing of the construction of this site plan, we will be building in two phases. First, we will demolish the cottages within the forest of Duke's Drive. Internal to the loop, build a new facility for the residents on site to relocate to. And then we will be demolishing the western portion of that large building on site that you mentioned, which is the healthcare facility and rebuilding that as the site face. So I'm sorry. Now that we actually have a very lovely aerial, can you show us again? Yeah, sure. So on the left side of the screen there, you'll see those cottages exactly where that arrow is pointing. All of those. Not all of them, but the majority of the ones within the forest of Duke Drive. Yes.  And then we'll be building a new independent living and memory care facility in that location. And that could be up to 78 feet tall, which when I do my math is six stories. Yes, but as I mentioned, the topography changes quite significantly. So yeah, two of those stories will be, you know, basement conditions from the northern side. Right, so it'll be one height on one side and as much as two levels taller on the southern side. Is that right? Correct, yes. And then what part of the larger buildings you plan to demolish? So do you see the, it's directly adjacent to those cottages, that facility with the, you know, there we go. Thank you very much. It's really quite handy. I'm very impressed. That will be the next phase of the construction once we have built the first phase. This is your immediate plan, but you're going to ask for a 78 foot height limit everywhere within the loop, which will enable you when you're ready to do similar work. It sounds like you might be eliminating cottages from your scheme. So outside of the Forest at Duke Drive, there are a large number of cottages that will remain and the reason we wanted to do the 78 foot height within the Forest at Duke Drive is actually that a lot of that existing building is taller than the 35 feet currently allowed within the PDR zoning. So this allows us to have a little bit more flexibility in the future if we go in to renovate those buildings that exist that are taller than 35 feet that we're not having come back again for another zoning for that east side is the thought here. And how will these improvements affect your total number of, I don't know, residents? Let's call them residents. When you're completed with your immediately envisioned projects, will you serve the same number of residents in new facilities or will you serve an increased number of residents? It'll be increasing by approximately 59 units within the independent living care and memory care facility. Thank you, those are my questions. And then I have a comment for staff that something that worries me a little bit. The way I read the ordinance, it says maximum building height shall be 90 feet. Any building over 35 feet shall be identified on the development plan submitted for approval. To me, that means that the actual buildings that will be taller than 35 feet have to be shown on the development plan and that it isn't sufficient to show an area or a bubble, but the plan must contemplate the specific and individual buildings that will rise above 35 feet. Obviously the staff doesn't see it that way, but I believe that that's what those words mean. We did have that discussion and we're taking this request, I'm sorry, Michael Stock with the planning department as to mean that any building, so they are identifying all buildings within the loop as possibly going up to 78 feet. So that's within the prerogative and- Yeah, I can see that's the position you're taking, but I believe that the words mean that the actual buildings have to be- That was discussed- The development plan says a building here and a building there. That was discussed and that was determined to be an acceptable language. All right, thank you very, I disagree with you, but I see where you're coming from. Thank you. Thank you, Commissioner Miller. Other commissioners, questions or comments on this case? Commissioner Baker. Just one quick question for the applicant. I'm wondering if we can expect there to be green or sustainable building elements as part of any redevelopment, renewable energy, energy efficiency, LEED, anything like that? I think she wanted to take it. This proposal will meet and exceed the existing building code for green compliance as it's currently proposed. Follow-up, Commissioner Baker. No, okay. Thank you. I don't see any other questions. I think we're ready for a motion for a vote. Mr. Chairman, then in connection with case Z2000012, the Forest of Duke Development Plan Amendment, I move that we send this case forward to the city council with a favorable recommendation. Second. Thank you, Commissioner Johnson. So moved by Commissioner Miller, seconded by Commissioner Johnson, and we'll have a roll call vote, please. Commissioner Amondalea. Yes. Commissioner Baker. Yes. Chair Busby. Yes. Commissioner Cameron. Yes. Commissioner Durkin. Yes. Commissioner Johnson. Yes. Vice-Chair Kenshin. Yes. Commissioner Lanford. Yes. Commissioner Low. Yes. Commissioner McIver. He's recused on this case. Oh, that's right. I apologize. You're right. Commissioner Miller. No, but for the reasons I said. Okay. Commissioner Morgan. Yes. And Commissioner Williams. Yes. Passes 11-1. Thank you. So as we welcome Commissioner McIver back, we will move to the final case this evening, and it is T-2-0-0-0-0-4. So I wish Commissioner Miller good luck with his motion on this case in a little bit. This is the 160D updates, and we'll start with the staff report. Thank you very much. Michael Stock again with the planning department. Before you tonight is a, basically an omnibus type of text amendment due to changes to the state statutes under chapter 160D. It provides revisions to various provisions to unify development ordinance in order to comply with those statutory revisions. And they identify corrections, clarifications, reorganization, other minor changes to comply with 160D. There are also just some minor technical changes for clarity or to remove some redundancies while we're under the hood. Basically, and to be short, as you may be aware or maybe you're not, up until this point, the state has operated under two sets of planning and zoning enabling legislation, one for the counties, which was under chapter 153A and one for cities and other municipalities under 160A. The legislature last year voted to combine those and also make some changes to those enabling legislations, combined 153A and 160A under a new chapter called 160D. It was further, quote unquote, refined under the last summer session. And it basically becomes applicable by July 1st, 2021. It is recommended that we make our changes ahead of that time. And once we do, we would be under full jurisdiction of those of 160D. Again, most of the changes are technical in nature. I will point out a couple, again, quote unquote, substantial changes, such as we are switching the allowance to take appeals from Certificate of Appropriateness decisions from the Historic Planning Commission, straight to Superior Court as any appeal would be from a quasi-judicial decision. Currently, it would have to go to the Board of Adjustment. The 160D changes allows that to happen. Another change is to require recording of special use permits that have been approved and trying to think of any other, just updates and clarifications to the vested rights provisions that are approved under also 160D. Again, there are other changes. Be happy to answer any questions. Thank you very much. Thank you, Mr. Stock. So we will open a public hearing and no one signed up to speak on this item, but I do want to provide the opportunity if anyone would like to speak. This is the moment where you can raise your hand. So I don't see anyone. So we will close the public hearing and Commissioner Miller, I see your hand is raised. So I recognize you. Thank you. Michael, what's the effective date of these changes if they're adopted by the city council and the Board of Commissioners? The effective date would be, I haven't set the effective date yet because I don't know exactly what month they're going to. Normally we would set the effective date to the beginning of the following month. So it's essentially upon approval. Essentially. You're not moving it to correspond to the effective date of this 160D changes. No, no. In fact, it's not required. So does 160D, and I actually took the course on this and I've forgotten what I learned. Does 160D allow you to make changes in advance of its own effective date? Yes. If it does, then Mr. Chairman, you may call on me for a motion when the time comes. Thank you. I'll just say that I'm fine with these changes. I think they make a lot of sense. So I plan to vote for them. If any other commissioners would like to ask questions or make comments, you can raise your hand. I don't see anyone else. So Commissioner Miller, I'll recognize you to make a motion. Mr. Chairman, then with regard to the changes proposed in TC2504, I recommend that we send this case forward to the City Council and the Board of County Commissioners for the favorable recommendation. Second. Thank you. So moved by Commissioner Miller, seconded by Commissioner Cameron, and we will have a roll call vote. Commissioner Amandalia. Yes. Commissioner Baker. Yes. Chair Busby. Yes. Commissioner Cameron. Yes. Commissioner Durkin. Yes. Commissioner Johnson. Yes. Vice Chair Kanchin. Yes. Commissioner Landfried. Yes. Commissioner Lowe. Commissioner McIver. Yes. Commissioner Miller. Yes. Commissioner Morgan. Yes. And Commissioner Williams. Yes. All right, it passes 13-0. Thank you. So that's it for this evening. Grace, I don't know if you have any final updates to share with us this evening. No, we will send out the decision forms probably on Thursday because tomorrow is a holiday and we are closed. I sent out an assignment via email earlier today or right before the meeting. If you have time to complete that before the retreat, that would be great. And I will send out the agenda for the retreat either Thursday or Friday of this week and we look forward to seeing everyone next week. That's great. And just a reminder, the Planning Commission retreat, we haven't had one since we had to go remote. It's next Wednesday, November 18th. That's from four to six. It'll be by Zoom and Vice Chair Kanchin and I were able to meet with the staff so we appreciate that they've put together an agenda that represents the things we are hoping that we can spend time on. So look forward to spending that time with all of you next Wednesday. If there is nothing else, this meeting is adjourned. I hope you all have a good evening. Good night. Good night. Thank you. Thank you.


Hello everyone and welcome back to our wall-to-wall coverage of the Data Cloud Summit. This is Dave Vellante and we're seeing the emergence of a next generation workload in the cloud. We're in more facile access and governed sharing of data is accelerating time to insights and action. All right, allow me to introduce our next guest. Amy Irwin is here. She's the vice president of strategy for experience. And Matt Glickman is VP customer product strategy at Snowflake with an emphasis on financial services, folks. Welcome to theCUBE. Thanks so much for coming on. Thanks Dave. It's nice to be here. Hey, so Amy, I mean, obviously 2020 has been pretty unique and crazy and challenging time for a lot of people. I don't know why I've been checking my credit score a lot more for some reason on the app. I love the app. I had a lock at the other day. I locked my credit. Somebody tried to do a, and it worked. I was so happy. So thank you for that. But so we know experience, but there's a ton of data behind what you do. I wonder if you could share kind of where you sit in the data space and how you've seen organizations leverage data up to this point. And really, if you could address maybe some of the changes that you're seeing as a result of the pandemic, that would be great. Sure, sure. Well, as you mentioned, experience is best known as a credit bureau. I work in our marketing services business unit. And what we do is we really help brands leverage the power of data and technology to make the right marketing decisions and better understand and connect with consumers. So we offer markers, products around data, identity, activation, measurement. We have a consumer view data file that's based on offline PII and contains demographic, interest, transaction data and other attributes on about 300 million people in the US. And on the identity side, we've always been known for our safe haven or privacy-friendly matching that allows marketers to connect their first-party data to experience or other third parties. But in today's world with the growth and importance of digital advertising and consumer behavior shifting to digital experience also is working to connect that offline data to the digital world for a complete view of the customer. You mentioned COVID, we actually, we serve many different verticals and what we're seeing from our clients during COVID is that there's a varying impact of the pandemic. The common theme is that those that have successfully pivoted their businesses to digital are doing much better. As we all know, COVID accelerated very strong trends to digital both in e-commerce and in media viewing habits. We work with a lot of retailers. Retail is a tale of two cities with big box and grocery growing and apparel retail really struggling. We've helped our clients leveraging our data to better understand the shifts in these consumer behaviors and better segment their customers during this really challenging time. So think about there's a group of customers that is still staying home, that is sheltered in place. There's a group of customers starting that significantly vary their consumer behavior but is starting to venture out a little and then there's a group of customers that's doing largely what they did before in a somewhat modified fashion. So we're helping our clients segment those customers into groups to try and understand the right messaging and right offers for each of those groups. And we're also helping them with at-risk audiences. So that's more on the financial side. Which of your customers are really struggling due to the pandemic and how do you respond? It's awesome, thank you. You know, it's funny. I mean, somebody, I saw a Twitter poll today asking if we measure our screen time and I said, oh my, no. So Matt, let me ask you, you spend a ton of time in financial services. You really kind of cut your teeth there. And it's always been very data oriented. You've seen a lot of changes. Tell us about how your customers are bringing it together. Data, the skills, the people, obviously a big part of the equation and applications to really put data at the center of their universe. What's new and different that these companies are getting out of the investments in data and skills? And that's a great question. The acceleration that Amy mentioned is real. We're seeing, particularly this year, but I think even in the past few years, the reluctance of customers to embrace the cloud is behind us. And now there's this massive acceleration to be able to go faster. And in some ways, the new entrance into this category have an advantage versus the companies that have been in this space, whether it's financial services or beyond. And in a lot of ways, they all are seeing the cloud in services like Snowflake as a way to not only catch up, but leapfrog your competitors and really deliver a differentiated experience to your customers, to your business internally or externally. In this past, however long this crisis has been going on, has really only accelerated that because now there's a new demand to understand your customer better, your business better with your traditional data sources and also new alternative data sources and also being able to take a pulse. One of the things that we learned, which was an eye-opening experience was as the crisis unfolded, one of our data partners decided to take the data sets about where the cases where we're happening from the Johns Hopkins and World Health Organization and put that on our platform. And it became a runaway hit. We're now with thousands of our customers overnight, we're using this data to understand how their business was doing versus how the crisis was unfolding in real time. And this has been a game changer. And I think it's only scratching the surface of what now the world will be able to do when data is really at their fingertips and you're not hindered by your legacy platforms. I wrote about that back in the early days of the pandemic when you guys did that and talked about some of the changes that you guys enabled. And you know, you're right about cloud.  Amy, I wonder if you could tell us a little bit more about what your customers are having to work through in order to achieve some of these outcomes. I mean, I'm interested in the starting point. I've been talking a lot and writing a lot and talking to practitioners about what I call the data life cycle. Sometimes people call it the data pipeline. It's a complicated matter, but those customers and companies that can put data at the center and really treat that pipeline as the heart of their organization, if you will, are really succeeding. What are you seeing and what really is the starting point there? Yes, yes, that's a good question. And as you mentioned, first party, I mean, we start with first party data, right? First party data is critical to understanding consumers. And in different verticals, different companies, different brands have varying levels of first party data. So retailers can have a lot more first party data financial services company than say an auto manufacturer. And while many marketers have that first party data to really have a 360 view of a customer, they need third party data as well. And that's where experience comes in. We help brands connect those disparate data sets, both first and third party data to better understand consumers and create a single customer view, which has a number of applications. I think the last stat I heard was that there's about eight devices on average per person. I always joke that we're gonna have these enormous, I mean, and that number is growing. We're gonna have these enormous charging stations in our house. So I think we already do because of all the different devices. And we seamlessly move from device to device along our customer journey. And if the brand doesn't understand who we are, it's much harder for the brand to connect with consumers and create a positive customer experience. And we cite that about 95% of companies are actually, they are looking to achieve that single customer view. They recognize that they need that and they've aligned various teams from e-commerce to marketing to sales to add a minimum and just their first party data and then connects that data to better understand consumers. So consumers can interact with a brand through a website, a mobile app, in-store visits by the phone, TV ads, et cetera. And a brand needs to use all of those touch points often collected by different parts of the organization and then added that third party data to really understand the consumers. In terms of specific use cases, there's about three that come to mind. So there's first, there's relevant advertising and reaching the right customer. There's measurement. So being able to evaluate your advertising efforts. If you see an ad on, if I see an ad on my mobile and then I buy by visiting a desktop website, understanding or I get a direct mail piece, understanding that those connections are all connected to the same person is critical for measurement. And then there's personalization, which includes improved customer experience amongst your own touch points with that consumer, personalized marketing communication, and then of course analytics. So those are the use cases we're seeing. Great, thank you, Amy. And I'm Matt, you can't really talk about data without talking about governance and compliance. And I remember back in 2006, when the federal rules of civil procedure went in, it was easy, the lawyers just said, no, nobody can have access. But that's changed. And one of the things I like about what Snowflake's doing with the data cloud is it's really about democratizing access, but doing so in a way that gives people confidence that they only have access to the right data. So maybe you could talk a little bit about how you're thinking about this topic, what you're doing to help customers navigate, which has traditionally been such a really challenging problem. No, it's another great question. This is where I think the major disruption is happening. And what Amy described, being able to join together first and third party data sets, being able to do this was always a challenge because data had to be moved around. I had to ship my first party data to the other side, the third party data had to be shipped to me and being able to join those data sets together was problematic at best. And now with the focus on privacy and protecting PII, this is something that has to change. And the good news is with the data cloud, data does not have to move. Data can stay where it belongs, experience and keep its data, its experience customers can hold onto their data, yet the data can be joined together on this universal global platform that we call the data cloud. On top of that, and particularly with the regulations that are coming out that are gonna prevent data from being collected on either a mobile device or as cookies and web browsers, new approaches, and we're seeing this a lot in our space, both in financials and in media is to set up these data clean rooms where both sides can give access to one another but not have to reveal any PII to do that join. This is gonna be huge. Right now, you actually can protect your customers private and your consumers private identities but still accomplish that join that Amy mentioned to be able to relate the cause and effect of these campaigns and really understand the signals that these data sets are trying to save about one another. Again, without having to move data without having to reveal PII, we're seeing this happening now. This is the next big thing that we're gonna see explode over the next months and years to come. I totally agree. Massive change is coming in public policy in this area. And I wonder, we only have a few minutes left but I wonder if for our audience members that are looking for some advice, what's the, Amy, what's the one thing you'd recommend they start doing differently or consider putting in place that's gonna set them up for success over the next decade? Yeah, that's a good question. I think, I would say, first, try to solve your first party data across all touch points. Get that first party data in one place and working together. Second, connect that data with trusted third parties and in that stress and some ways to do that. And then third, always put the customer first. Speak their language, where and when they want to be reached out to and use the information you have to really create a better customer experience for your customers. Matt, what would you add to that? Bring us home, if you would. Applications. The idea that data can now be, your data can now be pulled into your own business applications the same way that Netflix and Spotify are pulled into your consumer and lifestyle applications. Again, without data moving these personalized applications experiences is what I encourage everyone to be thinking about from first principles. What would you do in your next app that you're gonna build if you had all of your consumers if consumers had access to their data in the app and not having to think about things from scratch leverage the data cloud leverage these service providers like Experian and build the applications up tomorrow. I'm super excited to when I talk to practitioners like yourselves about the future of data. Guys, thanks so much for coming on theCUBE. It was really a pleasure having you and hope we can continue this conversation in the future. Thank you. Thanks. All right, thank you for watching. Keep it right there. We got great content, tons of content coming at the Snowflake Data Cloud Summit. This is Dave Vellante for theCUBE. Keep it right there.