Let me begin by saying welcome. Greetings to everybody. Welcome to the Future Transform. I'm delighted to see you all here today and I'm looking forward to hearing from you, especially in response to our terrific guest. Now what I'd like to do is thank our guest and welcome our guest. I'm absolutely delighted to be able to host Professor James Lang. He is Professor at Assumption College. You can see here from his title what he's up to. You can also look in the bottom of your screen. You should be able to see two links. I believe they're kind of yellowish color to two of his books. One of them on small teaching, one of them on small teaching online. This is where he is engaged in showing us how to improve our teaching and learning and especially how to improve right away even with small basic initial steps. So I'm absolutely delighted to bring him on here because this is a topic of a great deal of interest, especially as more and more campuses are looking to either have some kind of blended learning experience or a wholly online experience this fall. Professor Lang, welcome. Thank you. Thanks for having me. Hello, everyone. So glad you could make it. And I'll have to stop calling Professor Lang and call you Jim. Just this is, we were as formal or informal as we want to be. Jim, looking ahead for the next say, well, the next academic year for yourself. What are the big topics that you're gonna be wrestling with? What are the major ideas? I mean, is it mostly gonna be helping prepare assumption faculty for teaching, however they're gonna be teaching this fall, or what? So this is gonna get derailed right away because I'm on sabbatical to come here this coming year. Tiring. Yeah, so for the rest of my life, I'm gonna be grateful that this was my sabbatical year. I have been working with our interim director, Sarah Kavanaugh on preparing our faculty for the coming year, but I am gonna kind of slide away from that and work on my own writing projects as sabbatical is designed to do coming out in October. So I'm gonna be doing a decent amount of work preparing for that and then trying to get another book written before the end of the academic year.  They have, most people don't get out two books in their lifetime, much less two books. Most of you have three others and now two more to come. That's fantastic. Well, I'm sure you're gonna be in demand as people try to figure out how to, not just adjust their teaching through a new environment, but how to teach well. Well, I have all kinds of questions to ask. And friends, I'm just gonna start off with one or two, but the forum is here for you. So the questions you have are the most important. Again, remember, if you wanna join us up here on stage with the video, just press the raised hand button. If you wanna type in a question, just type it in that question work box. My first question is, you've used this title, this phrase, small teaching. And I'm wondering if you could explain that for everybody, what does small teaching mean for you? The idea of small teaching kind of emerged after, I wrote a book that came out in 2013 on academic dishonesty called cheating lessons. And I got a lot of invitations to speak at colleges and universities as a result of that book because of course everyone has wants to address this issue in one way or the other. And as I gave those presentations, I kind of found that people were interested in the ideas and the theories and all that stuff, but people kind of perked up when I would get sort to the second half and I would start to mention some specific things that people could do in their classes. And I kind of started to just feel like that's oftentimes what people came to these events for was they were looking for practical concrete steps in terms of what they could do in the classroom tomorrow. And it was often coming in the middle of the semester too, like people would be inviting me to speak in October, right? And part of the recommendations I was making were sort of big course design kind of stuff. And the thing is when you get that recommendation in October, it's like, it's the middle of my semester. I'm not going to redesign my class. And by the time January rolls around, I'm going to forget that this guy was over here. What I tried to sort of start playing around with was introducing ideas that were like applicable tomorrow or that things that people could really put into practice. And I just noticed that people kind of perked up when they heard these suggestions and had a really positive reaction to them. So that and there, I mean, a couple of other things kind of went into the background of putting the book together, but ultimately I became interested in that question. Like, if you invite me to your campus in its March, how can I be helpful to the faculty by giving them ideas that they can implement right away? And then I've always had an interest in learning research and how people learn. I find that really fascinating. You know, I've never been out of school. And I went straight through to graduate school and into faculty life. And so I always have been interested when I read studies or like experiments about how do people learn things? So I kind of put those two things together to identify learning principles that used to guide small changes that faculty could make to their teaching and particularly ones that they could implement. Like I said, you know, read this section of the book. You can get this into practice tomorrow or next week. So that was how the original thing came about and just to finish up on the second thing. So then when I started giving, that book came out in 2016, I started giving presentations and getting invitations to speak about that book. And the first question that I always got was, how do I do this in my online classes? And at that time, I had never taught online.  And occasionally I would make this joke. If anyone is a great online teacher and wants to write the small teaching sequel, let me know, I'll be happy to. While I was doing this in Arizona and Flower Darby came up to me afterwards and said, I want to be the one that writes small teaching online. I like that kind of initiatives. I said, all right, you know, let's send me a sample of your writing and it was great. And so then she taught me a lot about how to apply some of these same principles to the online environment. I did an amazing job of putting it together in the book. So I just wrote about, you know, I wrote an introduction and I wrote the theory sections of each chapter, but she really brought her years and years of practical experience to bear on that book. Flower is amazing. We've had her as a guest and she's just brilliant. Yeah. Thank you. Well, speaking of brilliance, I asked her questions and they started coming thick and fast. So let me bring up one. This is from Dom Caristi at Ball State. Let's see if we can flash this text question up on the screen. Ironically, some students resist change. How have they responded to mid-semester changes? Yeah, that's a really good question. There was kind of a whole literature actually on, for example, on student resistance to active learning. We have to strike a balance here, right? I mean, the students come into the class and you've kind of presented them. Here's the way the class is gonna function. So I would not necessarily recommend sort of design changes or changes to the assessment structure in sort of midstream. Typically the kind of small changes I would recommend people are implementing are trying different things in the classroom, right? So like maybe trying a different way to host a discussion or a different way to a different kind of, like writing activities or stuff like that.  And when you're together in a face-to-face environment or when you're having students do their activities online and online class, I'm always experimenting with different things that I hear about. So there I think the experimentation is gonna be a little bit easier for students to digest than sort of stopping halfway through and saying, you know, I'm gonna change the final project completely. I think there are some issues there because students plan, you know, need to be able to plan their lives and plan for, I know sometimes we'll see students who have got their calendars, like their paper calendars and it's like all their assignments mapped out and everything. So I think we have to be careful about those kinds of changes mid-semester. So ideally, you know, we're able to experiment midstream and respond to things that are going wrong or new things that we wanna try. But the bigger kind of design changes we probably need to wait for new classes to begin those. That's a great question, Dom. Thank you very much. And I hope you're enjoying Summer in Indiana. And thank you, Jim. That's a splendid, splendid answer. Again, if you're new to the forum, that's an example of a text question. And here it should be an example of a video question. This is from Carl Huckarinen, who comes to us from not too far away from you. Hey, Carl. Hi, Jim. Hello. Hi. Jim and I talked a couple of years ago regarding a lifelong learning class that I was teaching on learning styles. And we've had to, we're also affiliated with the subject of university that we had to pivot this spring and now into the summer and fall, taking our classes for people, BD&H is about 73, bringing them all online. And this has raised not surprisingly some technical issues, but also adapting teaching styles to people, for people who've not experienced online education before in any substantive way. So my question to you, Jim, is when you are trying to pivot your online courses or when other faculty are trying to pivot their online courses to a more diverse community than where people may be familiar with the classroom experience, but now they have to work online, overcoming some technical challenges, overcoming some pedagogical challenges of how do I keep pace? How do I interact with my other colleagues, my other students in the class? And also particularly for our age group, the extra challenges of disabilities such as hearing disability, finding that online classes, particularly with people who have long mustaches and beards, makes it very difficult for people to do liberating. So that's a long wind up to say, how well do we, or what are some tips on adapting small teaching and online instruction in general to groups who have not generally experienced online instruction before? All right, thanks, Carl. So I, in my view, the kind of path we should take as we're, especially for those of us who are converting traditional face-to-face classes into online classes is the same. Even, no matter what audience we're facing, and you think about this in terms of universal design for learning, right? We should be designing for access to all learners, whether they're traditional age students or whether they're for further education. And in my view, and we have done some work trying to promote this perspective to faculty, and it's certainly not original to me, but to address the issue of the fact, people have technical problems or people have access problems or people all those kinds of stuff. And yet to also address the fact that people want, especially I think maybe seniors who are looking for community, right? And so who are looking for the opportunity to meet with the instructor, to have conversations with the instructor and their fellow peers. The approach that I think we should be taking to these classes is to start with an asynchronous foundation, right? So like the course content, as much as possible, we're providing that asynchronously and that's the readings, video lectures, whatever it might be, the stuff that we want students to get first exposure to, we're providing that to them asynchronously. And that helps address the access problem, right? Because if someone can't log in in a particular moment, they can get access to that stuff in their own time and in their own ways and we try to make it accessible to them as possible. But then we add that sort of on top of that, then we add the synchronous layer, right? Where we are then providing these additional opportunities for them to engage with the material in real time with one another. So in my view, that's kind of the best of both worlds as we're thinking about how to build these classes now, especially for the fall semester for folks who are gonna be doing it. And to me, this is also kind of the way to have what Josh Eiler and others have called resilient pedagogy, right? If you build the class this way, it can persist no matter what happens, right? So like if you start with that asynchronous foundation, then you add the layers of synchronous conversation and community, the asynchronous foundation is gonna persist no matter what. That's available whether you're online or face-to-face. The synchronous opportunities can then happen whether they're mediated through screens or whether you're actually in the classroom or however that might end up being. So to me, that's the way to provide the best possible access to all learners. And you get to still try to give, try to prioritize what I think seniors and many of our students are looking for as well, which is the connection in the community with the other people that are in the class. So that's pretty basic recommendation, but I think that's the direction that we should be going at least until we get through this period where things could be disrupted so easily. Thank you, that was very helpful. Thank you, Carl. Thank you, that's a great question and good luck with that class. Thank you. Nice to see you, my friend. And by the way, Carl's question noted something that is important about our biography, which is that we are now Assumption University as of June. When you first contacted me, we were Assumption College. Now we are Assumption University. 2020 is a busy year. That's right. So congratulations at Assumption University. That's a big step. So friends, if you're new to the forum, that's a video question. You can see how easy that is to do. And we'll try this again with another question coming from Ray Miller at Appalachian State. Let's see if we can bring Ray up on stage. Hello, Professor Miller. Thank you. Good, thank you. It's really good to meet with you, James. I read your book, Small Teaching Online, and it was very helpful. This is my question. Oftentimes we teach classes that we already know. And other times we teach courses in which we really wanna learn something that we don't know. We step into that, into that mind field. For those of us who are teaching asynchronous courses online and are relatively new, how do we set up that course so that we can allow for growth and change for us as the instructor, as well as for the student? Meaning, it seems as though you have to know an awful lot more in setting up an online course in terms of making sure everything is set in place before it goes live. But if you're doing it for the first time, and if the course itself is relatively new in terms of the content, how can we set this up so that the students and you feel as though it's okay to grow and to change as the 15 weeks go on and not, oh gosh, he's changing things on. Oh gosh, he doesn't know what he's doing. Oh gosh, it's a mistake. Can you talk a little bit about that? Thank you. Sure, yeah, so I'll recommend a resource first. There's a book by Therese Houston called, I think it's called Teaching What We Don't Know. That title, exactly right. But it's worth looking at, even for this context that you're asking about, Therese Houston is the author's name, H-U-S-E-O-N. So that's working out just to think in general about this issue of teaching when we're not, we don't feel quite experts on the subject. Okay, so I'm gonna just throw out one suggestion. And this was something that I experimented with actually in my spring class, which converted halfway through. And it ended up working very well. So what we did was, I had asked the students, I had assigned for each week of the semester that the students were going to create a resource collection on the topic of that week. So the students worked in groups, for example, so this was a British Literature Survey class, British Literature from 1800-ish to the present. And so they were asked to do research and put together a collection of resources on a historical topic that was relevant for that week's literature. For example, the Irish Potato Famine when we were in the middle of the 19th century. And what they had to do was they had to put together a collection of resources that included a video overview. Like, and they were looking for source videos. They looked for an image or two that they could analyze. They had to find like basically sort of overly like encyclopedia-ish type entries. But it was just designed for, and then that material became part of the course content. In fact, there was a question about some of the resources on the final exam. So the students were kind of responsible, which was why it was kind of at that level of like basic introductory stuff. And what the students did was they annotated five of these resources. So each resource was the thing, like the image or the video, a one paragraph annotation explaining why it was important and what would it help us understand. I think you could, without having to do that specifically, what you might think about is, you're gonna be able to provide the structure, but then and get yourself into the first, five weeks or whatever it might be. But then in the latter half of the class, let students know, you're gonna be responsible for building up some of the content for this class. Now, I will say that this was a little bit of additional work for me because I had to meet with each group beforehand and I had to help curate the resources. In fact, I typically asked them to come up with seven to 10 and then I would help them win it down to five. So, but again, in some cases, these were things that I didn't know all that much about. Like I knew it was important in some of the literature referred to these events, but it was great. I learned a ton from it. And the best part was actually because the course ended up, well, we were doing it all along, we were doing it on the LMS. I have those resources now for the future. So like, if I wanna do it a little bit differently the next time, I've got like 12 weeks of curated resources that could be providing to students in the future. So I would suggest that you be transparent about this and say, I've left this sort of big strip of the course open for you to help me fill in and we're gonna sort of develop our expertise in these areas together. That would be the only really concrete suggestion that I have here. Great, that's very helpful. Thank you very much. Yeah. Thank you Ray for the great question. And Jim again, what a rich answer. If you in the chat box and on Twitter, people are just lighting up, pointing at Harvard University Press to get copies of that book on teaching what you don't know. Oh, good. And we have more questions that are just flooding in. So I'm gonna just give everyone a shot here. This is one from Lisa Sieverts at Harvard Extension. She says, in small teaching, you say the flip classroom does not automatically provide outstanding learning experiences. Could you say more about how do you use the flip classroom effectively? Yeah, I mean, I guess what I meant by that was, we can't just sort of expect that we're gonna adapt off some whole sale pedagogy and that things are gonna, that's gonna transform the learning of our students, right? You can teach a flip class as badly as you can teach a lecture class. In my view, I'm always a kind of, my father always said to me, the truth is usually somewhere in the middle. And I kind of still believe that these days that the classroom experience, to put everything outside of the classroom experience like all the content, and then I just expect nothing but sort of meaningful discussion or problem solving or work in the classroom, that doesn't necessarily solve the problem or like automatically going to create a great class. And so that there are kind of things that I think we still need to be doing in a flip classroom, like providing students sort of reminders or overviews of like sort of a key content. Like a lot of humanities classes are basically taught as flipped classrooms. They always have been, right? Like a literature class, the students do the reading outside of the class and then when they come into class, we discuss it. So like that's been the tradition. Derek Bruff was the one that pointed this out to me of Vanderbilt Center for Teaching that humanities classes often have worked like this for a long time. So, and so those of us in the humanities know that can go just as badly as a lecture class with PowerPoints. So, in my view, I think the flip classroom just kind of has to continue to kind of look for the same basic learning principles that we're looking for in any kind of classroom experience. You wanna mix stuff, right? So the book that I have coming out in October is about attention and how we maintain, capture attention of students throughout a class period. And one of the things I really learned from that research was the importance of variety and change, right? So like our attention is renewed by variety and change. So if you're gonna have students come in and just, you know, I find it very difficult to get students to sit and sort of in a circle and discuss meaningful stuff for 75 minutes, right? We need to be doing some other stuff occasionally. So like instead of doing something like that, I'm more likely to have a mini lecture or 15 or 20 minutes, do a little sort of activity on paper where they're preparing for the discussion and then have the discussion and then like a finishing activity. And to me, that's kind of what we should be thinking about in terms of flip classroom is not so much like it's some, you know, complete opposite of a lecture class, I think we should just be looking at how do we have active engaged classrooms as they're getting sort of multiple streams of kind of learning experiences. Sometimes they're listening, sometimes they're seeing things, sometimes they're talking to one another, sometimes, you know, we're talking as a class. I would view that as being sort of more important than kind of going wholesale in on like some specific pedagogical approach, I guess. That's a very, very detailed answer. And that just shows, I think, the depth of the topic. Lisa, thank you very much for this question. People are also sharing the news about this next book. It's just called Distracted, isn't it? It's called Distracted, the original title that I wanted was Teaching Distracted Minds. And the idea there was that all of our minds are distracted. So how do we best sort of teach to a distracted mind and there was no sort of reference there that students are somehow different from more than 50 years ago or that we are, but as anyone who's published a book knows, or even an article of you, sometimes the publisher wants a different title that they think's going to get more people's attention. So anyways, I'm not going to apologize for it endlessly, but... Oh, it's great. It's great. The idea is that, you know, why students can't focus is for the same reason that all of us have trouble focusing because we have distractible brains and instead of what we should be doing is thinking not so much about how to wall out distractions, which are outside of us, but are also in here. Said, how do we, what captures people's attention? What sustains people's attention and how can we take those things and incorporate them into our teaching? That's well put. That sounds like a thesis statement from our book. That's my elevator pitch. I'm getting good at it. You have to be. Speaking of attention, we had two questions that came up about something that is getting all of our attention, which is the pandemic and Amy H at Adrian College. Hello, Amy. She asked, how do we balance the small teaching approach in the face of the major changes, whether known or unknown, needed due to the pandemic? Yeah, I mean, so that's, I mean, one way to think about this is again, like thinking about the sort of basic structure of the classes that people will be offering in the fall, right? If again, we kind of take that approach that I recommended earlier, where we're providing an asynchronous foundation and then kind of having these, but then we have that synchronous element as well, whether that's in the classroom like normal or online discussion, online Zoom classes or some combination of both, the same principles are still gonna be used to guide that, right? Like in the same kind of small principles that will help promote learning can be used to guide that. So for example, one of the things that we've learned about over many years now about providing video content to people is we wanna keep that, those video content relatively short, right? So if you look at video, there was a study done of over, I think it was something like 7 million video users, 7 million participants in four very large longstanding MOOCs. And the video looked, and the research looked at how long did people watch the videos, the video content? And if you look at the numbers, they kind of, it goes up, people for the most part watching the videos, I think up to nine minutes. And then from nine to 12 minutes, it just kind of falls off the cliff, right? So like, you know, if you have a 45 minutes of content that you wanna present to students, the small teaching change here is don't make a 45 minute video lecture. That's really hard for any of us to sit through. And I would include myself in that, right? So two good reasons to instead break that down into three or four shorter segments are, first of all, it's just better for our attention. When we're watching videos at home or whatever, there's still stuff going on. I can hear people walking around my house, there's a dog and a cat in here, you know, the doorbell could ring, the phone could buzz. So there's just a lot more distractions than there are available to me than there are in a classroom. But the other thing about it is, I'm taking a class and like, okay, 45 minute video lecture, I don't have time for that right now. So I'm just gonna keep putting it off till I can find that chunk of time, which, you know, isn't hard for us to find sometimes in our busy lives, but I can find time for 10 minutes. So it's gonna be easier for me to consume that content when it's broken down into those smaller bits. So I think the principles are the same and we can still use the principles to guide our creation of these classes. Especially if we kind of think about, there's these two parts to the class, right? There's the asynchronous provision of content, which in a way, I mean, that sounds like it's something new, but it's really not. Like I'm asynchronously providing content to my students when I'm having them read a novel outside of class, that you might think about just like that. And then there's the synchronous stuff that we're doing on camera or in person. And again, there are two, the kind of stuff that we know works. Like for example, having people write down a few thoughts before they speak. Well, in my class, they typically do that in a handwritten writing exercise or even a type writing exercise if they're using a laptop. They can certainly do that in the chat room, right? Like so these, I think things can translate if we just are able to kind of think, how does, what's the principle that I need for this particular environment? Asynchronous or synchronous and how can I make it work in those different contexts? Thank you. That's covered a lot of ground in just a couple of minutes there. The chat box has lit up with people making different observations. Rachel Barlow notes that podcasts are being very intimate and that they all feel like one person talking to you. Charles Finley gets a little more sarcastic and says, hashtag TikTok learning is our future. Alejandro Muzanaga, forgive me if I mispronounced your name Alejandro, says the sweet spot for video lectures is five minutes she's found. I mean, there's different studies on that, right? Like so, I'm referring to this one that I saw which had that kind of, I mean, it had a pretty substantial, but it was MOOC. So like that's a little bit different than a four credit class. The thing about TikTok, again, like I would just, I would ask people to kind of reflect upon their own experiences, right? Like, so I think this is worth thinking about actually for those of us who experienced the transition in the spring and for those of us who are frequently on Zoom meetings and webinars right now, are you locked in for one hour and not doing anything else for that time? Or do you find your attention wandering over to your phone or you're doing other things while this is happening? If you're experiencing that, you should expect that your students are going to experience it as well. So, you know, if you've been in department meeting on Zoom or whatever and you were doing other stuff like guilty, right? I mean, you should, you have to think about your students are going to have a similar experience. So for that reason, I would favor these kinds of shorter exposure items in the same way that I would favor shorter exposure to lecture content in the classroom.  Students, you know, minds are going to wander and the students minds have always wandered in those contexts. If a few sentences back, you mentioned drawing on our, reflecting on our personal work and we just had a relevant question that came up from New York on this from Sarah Sullivan at St. Bonaventure. And Sarah asks, how much honesty could I bring to the classroom about this year's challenges? Child care concerns about COVID, not a clear map for how best to teach in this environment? Yeah. So Sarah Kavanaugh does great work in this area. And so she, her book, The Spark of Learning, which came out a few years ago, looks at emotions in the college classroom. One of the things she actually looked at was self-disclosure. So how much self-disclosure by the, what does self-disclosure by the instructor do for student learning, student sort of perceptions of the class and the instructor? And consistent with something I said earlier, they, and my sort of general views on life, the, the research finding was, you know, a modest amount can be helpful in sort of giving sort of a humanized view of the instructor, creating more of that sense of community, but you can tip the balance too much in either direction, right? And it seemed to, I believe, I have to double-check this and maybe someone can confirm this as well. My other recollection about this research was that the more positive self-disclosure was better. Like in other words, you don't want to self-disclose too much about like all of the sort of negative things you're experiencing or your, all of your fears and anxieties that maybe some of that can help humanize you, but too much of that seems to have a negative effect. And you probably think about this in the way that we have our social media context and we all know people that sort of are just consistently self-disclosing negatively on social media and like how sometimes like, okay, you know, I feel for you, but I don't want to read this all the time, right? Like, and I think there's probably something similar that happens in that classroom dynamic. So I guess my, my overall view would be, you know, you should not hesitate to, you know, have some self-disclosure to students that seems to be a good thing for humanizing you and creating community in the classroom, but you shouldn't overdo it and it shouldn't be just negative like that. You should also maybe if you're going to talk about the challenges we face, you might also talk about how you're addressing those challenges and some of the sort of positives that have come out of, or that are coming out of your experience with, you know, whatever it might be, right? Like, so, you know, see if you can find some of those positives to convey to the students as well because of course students need to hear, right? Like they're facing a lot of difficult challenges as well and we want to help sort of pull one another's up, to boost one another, you know, during this difficult time. So. Well, thank you. That's a, people are pouncing on this book, so. Now, didn't you, that's from West Virginia. Yeah, that's from the book series I added at West Virginia University Press. So I highly recommend, we have a bunch of great titles. West Virginia University Press, Teaching and Learning and Higher Education is the book series. Sounds fantastic. Thank you. And again, that was a great question. That was a great question. We have more questions coming in. We have another video question and this comes from a longtime friend and supporter of the program, Tom Hames. So let me bring Tom up on stage from Texas. Hello, Tom. Hi guys. So actually I had a question, but I was distracted so I forgot. No, it was easy. So. That's not going to be the first time I hear that joke. That was not going to be the last time. Do you want me to talk about my dogs? So no, my question is as follows. What I'm seeing a lot of right now, at least in my institution, I'm hearing the scuttle button in a larger world is that with everything going on, everything being so chaotic that there's this drive toward conformity, that you're trying to build all the classes so that they kind of look alike and the students don't have unusual learning experiences. And in my experience, that works against, first of all, innovation in the classroom, experimentation, precisely the kind of things you're talking about. What is your feeling on the balance between those two competing demands on class design? Yeah, that's a really good question. Because on the one hand, students who are dealing with all this disruption, it might be helpful for them to have some consistency. So I can see the rationale for that. I will say, though, on the other hand, I had students. So we advise faculty advisors at my institution. So I have a couple dozen advisees that I'm working with every year. And so we had to advise them after we had transitioned to online learning. And so I had Zoom meetings with all of them. And of course, just asked them how their classes were going. And I was kind of curious, as Director of the Teaching Center, what people were doing. So I would say, how many of your classes have switched basically to being an online asynchronous? How many are synchronous? And what I kind of found from that was that they actually appreciated having not everything be synchronous or asynchronous. They liked having a little bit of opportunity to do something different so that they weren't doing all their classes just online. Or they weren't doing some of them had all five professors were just continuing to meet exactly as they had just same time, same amount of times each week through Zoom, as if they were just continuing their face to face. And both those things posed challenges for the students. It was all asynchronous. They were having trouble organizing themselves, like in understanding how to meet their deadlines. If it was all synchronous, they were at home. And they were like things that might interfere with when they needed to be in their class times. So there are issues for both. And so I guess that might suggest to me that we shouldn't, on the one hand, maybe there's some basic parameters that are the same, but that we probably shouldn't mandate like things be all exactly, that we shouldn't push too far in the other direction because as I was saying earlier, change in variety helps renew our attention, helps keep our attention. If every class is doing the exact same thing and looking the exact same way, that's probably a sure way to get students less and less interested in the educational experiences they're having. So, I don't have any specific recommendations on that, but I guess that would be my impression is, we probably don't want to air too much on the side of conformity, even though I can see the value of having like some basic stuff. Like everyone's got to have, all of us major course documents online. Like I see the value of that kind of thing. Right. But in terms of like how the class is conducted, I guess I wouldn't want to see too much conformity that way. Good question. Okay. Thank you. Thank you.  It was pretty. We have a few more questions that are here. I want to make sure that we get a chance to raise these. And one of them comes from Alejandra that I mentioned before. And she asks about a really precise question. How do you fold in synchronous opportunities into an already built asynchronous class? Okay. So one of the first things I did this, even though I'm not teaching this year, I had taught online, I had had to shift my class online in the spring. And so in order to help me learn better about what students were going to experience, I took an online class this summer. I took Spanish too. So, and it was a, it was an online, it was a six week intensive online class taught by one of my colleagues. What he did was, you know, he provided most of our content asynchronously, but he had discussion sessions in which he was available on Zoom for anyone that wanted to practice their oral Spanish. And so those were held two times a week and we would all be able to, and they, in this case, they were optional because the class was designed as a fully online class, but he wanted to offer these extra synchronous opportunities. So he just set up two times per week. There were typically, you know, maybe half the class would be in each session and he would just ask us questions and we would respond in Spanish. And so, you know, I think that's kind of what you want to think about. Like if, you know, students are, like in my case, if I were doing this the fall, I would probably do something like, students are gonna read the texts, they're gonna then respond in a discussion board post, and then we are gonna have an additional one hour synchronous discussion per week in which I'm gonna have read their discussion board posts and put questions back to them based on that. Ask them to summarize, you know, their ideas, other things, and just like the way we would have a traditional discussion in a literature class. So I think that's what you want to think about, like what's the active stuff that students would be normally doing in class? Solving problems or, you know, being in groups or like having that group discussion and thinking about how that's this sort of additional layer that's then added on top. That's like the structure on top of the foundation, right? That asynchronous foundation. So my Spanish course provided a pretty good example for me of what that could look like and how it could be effective. And it was very effective for me. I took advantage of it every week. That sounds great. And you could probably do a better job with Alejandro's name than I can now. Yeah. Thank you for a really, really good question. And I love the practicality of that question. And Jim, that's a good example of small teaching practice right there. Yeah, absolutely. We have a question from Michael Meeks that who goes back one step from Tom's question about innovation and consistency. He asks, as face-to-face students are forced to go online, a template lets students focus on content rather than learn to navigate disparate models where to find X or Y or Z. Yeah, that's a great point. And for that reason, I don't object to things like having a kind of syllabus template or having a kind of, where everybody can see the same information and know where to go easily. I think especially in this current situation, that's a pretty good idea. I think where I would want to be able to see the variety is in the assessments, we shouldn't all have to be using the same kinds of assessments in our synchronous sessions. We should be able to foster discussions or have students doing in there what they want. So I agree with you completely. Like having basic requirements for what goes in the LMS so that everyone can have access to it and know they're gonna be able to access these same documents or get the information they need or interact with the instructor in certain ways like having a, you know, a promissor about how questions are gonna get answered, how quick they'll be turned around, all that kind of stuff. I think that's fine. Like to me that doesn't stifle people's pedagogy of creativity at all. And limitations and conditions like that don't have to stifle creativity in the same way that you can be really creative on Twitter in part because you're forced into those 280 characters, right? So like that's sometimes gonna actually force you into more creative thinking. How do I work within this structure in a way to kind of, you know, accomplish what I want to that can actually create new and innovative thinking. Well, I'm classic. You're gonna think about the limitations of poetry formats and- Exactly, exactly. That stands up for, exactly, yeah. We have a question that comes up from a slightly different angle. This is the faculty development angle from Kathy Bitman at the Hillsboro. And Kathy asks, what do you say to faculty who feel their particular teaching style would not translate well to an online format? That is a hard question. That's one I probably don't have to think about a little bit. I mean, we certainly have had faculty on my own campus. I know who are not looking forward to teaching largely in these online and hybrid classes. They really value the face-to-face discussion, which I do too. That's how I've always taught with a lot of discussion and engagement. I mean, one thing I guess I would hope that faculty would be open-minded about was that you can let faculty know, look, this is a transitional period, right? Ideally, if you relish teaching in that face-to-face environment and sitting around a table and talking to each other like that, you're gonna be able to get back to that. But this is a time for you to learn some new tools that you might be able to incorporate into that class in the future. What my experience was, I had not used some of the tools in the LMS that had long been available to me, tried in the spring semester, and I'm gonna use them now. So like my face-to-face class is now gonna be supplemented by some tech tools that I had never experimented with before. So hopefully one can appeal to the fact that faculty like to, our learners who are open-minded and want to continue to improve in their teaching and that that's the way to look at this experience. It's a temporary phase, one would hope at least for, even if that temporary means a year or two, they'll get back to what they think they're good at and what they know they're good at, but maybe they'll be able to have expanded their repertoire of tools they can use in the classroom. That's a very, very well-thoughtful and supportive answer to that great question. Kathy, thank you very much for asking that. I've heard that question all the time, but I've got to ask, Jen, what were those LMS tools that you hadn't used before that you're going to try now? I mean, the basic one was the discussion board, to be honest with you, I had never used the discussion board before in my own teaching and I'd actually kind of read really mixed things about discussion boards that sometimes they're using this very pro forma way, students are just kind of checking the box and it was Flower Darby actually who convinced me, no, you can use discussion boards well. And there were two things about it that, I mean, the thing that I liked about it was the thing that lots of people have said, it made sure that everyone's voice got heard, right? So there were, you know, I think by the time we switched to remote learning, there were 10 discussion board posts, that was how many weeks that were left or maybe there was eight or something and I gave, everyone had to only do eight of them so they didn't have to do it every week, they could choose the ones they were interested in, but the thing that Flower told me to do, which I really, really loved was after each week, I would read all the discussion board posts and I picked three to five of them to highlight that I thought were really good and I made like a five minute video and said, in which I was kind of, you know, screensharing the discussion saying, look, you know, Kathy makes a really excellent point here. This one, this post, you know, is when I really want to everyone, make sure everyone looks at and then I kind of just went and did that every week. And I loved it because it was like a way for me to affirm the work of students kind of publicly. I tried to make sure that every student got their post affirmed at least once. So I had like a little box checking out for people's names when I mentioned one of their posts so that everyone got heard. But I also just found they were really thoughtful, students who would not normally contribute in class contributed really thoughtful and interesting to the discussion board. So that's what I'm going to do in the future with my preparation for discussion rather than having them write at the beginning of class. I'll probably still do some, do that occasionally, but I think I'm going to do, I'm going to keep the discussion boards as well. I recommend it. It's a powerful, powerful tool. We're almost at the end of our time, however, but we had a question from Joe Moore. So let me see if I can beam him up on stage. And let's see, Joe, do we have you in video? Yeah, it looks like it. Hello. Hey, really awesome forum, Brian, first time we're here. So thanks for letting me ask and James really insightful stuff. Thanks for sharing. I wanted to ask about group work. I try to incorporate group work into my civil and environmental engineering teaching at Carnegie Mellon where I'm at. And was curious to hear your thoughts on adapting group work to the online environment. Yeah, I mean, the only thing I would say about that is the only kind of comment or insight I would have is, I mean, I sort of think group work can continue. There are ways obviously to do groups and breakout sessions or to have their work finally. What I would like to kind of, another book that's coming out in the teaching and learning and higher education series that I edit is from Viji Sathi and Kelly Hogan about inclusiveness, inclusive teaching. And one of the things that they argue that I've been convinced about is the importance of giving students some help in terms of structuring the group. So like letting, finding roles to the group so that and kind of giving them a kind of starting, kind of launching them into the task in ways that will prevent, for example, some students getting silenced, some students not feeling comfortable contributing their ideas to the group. And this is not something I typically have done in the past, but they convinced me that this was something that I needed to start doing. So that, you know, there's clearly defined roles, even if you might not have to assign them, but even if you just create the roles and then the students are gonna segregate themselves into those roles, it helps facilitate that process. And what I've experienced being in some breakout rooms myself, just like in the past, you know, a few months or whatever is sometimes it is hard to like kind of get that conversation started and like move things along. So putting students into roles and making sure those roles are really clear and then I think can maybe help facilitate that process a little more than like when you're in class and it's like, you know, I put students in groups and I get them to work and if a student group's just sitting there, I just walk over to them and they say, okay, like, you know, I'm here talking here, why don't you get started? Right, like I can do that much more easily in the classroom than I can in this environment. And I think the role assignment can help do that work that I would normally be doing in class. Great. Well, that's a good answer, thank you Joe and I'm glad you're here, welcome, welcome. Friends, we are right at the end of time. We have just managed to hit the top of the hour. So I'm afraid that with all regret, I'm gonna have to let you all go. Jim, thank you so much for being a fantastic, fantastic guest. At how much you've communicated and with what calmness and wisdom you've managed to share this, thank you so much. Thanks for having me. Oh, our pleasure. The quick question is, how can we keep up with you? No one can keep up with your writing speed, but how about, is Twitter the best way to find you? Yes, Lang Encore, L-A-N-G Encore. Great, well, we'll definitely keep an eye for that. And let me tell you, thank you again. Thank you for coming. All right, thank you. But friends, don't leave just yet, I just wanna quickly walk you through where we are. We have, coming up, we have for the next two months, a whole bunch of great topics, including academic women of color, revisiting high flex, work-life balance, how do webinars well, and more and more. So just if you'd like to learn more about that, just go to tinyorl.com slash form fall 2020. And in the meantime, thank you all so much for coming. Please stay in touch with us online and above all, stay safe. Talk to you later. Bye-bye.


How's that clock always been that loud? I think so, Harry. Well, let's get into how the bees been working. No, not really. Well, have they been helping at all? He still visits me. Same come every night.  But at night, it's different. He shows me his memories from his past life. His family, who he loves, who he hates. What he enjoys doing. But I'm just an observer, and I don't really feel it. Well, had he ever said anything to you? How does he give you those memories? I can't say. At least not yet. Well, Henry, I can tell that you have a very unique condition. And it's affecting you quite a bit. But you need to understand that this man isn't real at all. That he's just a figment of your imagination. A manifestation of everything that has happened to you. So you need to remember who you are, Henry. I know you're trying to help, Maria. And I greatly appreciate you for it. But I don't think quite that's the reality of the situation. What do you mean? Reality is subjective. It is what we make of it. To me, this man is real. I can see him, and he can see me. I can talk to him. I can touch him. He is real. And I think he is real to you too. What do you mean by that?


Once again, thank you for honoring my invitation to this press briefing that I need to do today. The press statement is following my seven-day suspension from Parliament. Dear fellow citizens, today I speak to you with heavy heart, burdened by the erosion of fairness and justice within the esteemed chambers of the Zambian Parliament. It is with utmost urgency that I shed light on the concerning stage of our democratic institutions. As you are aware, the role of the Speaker of this Parliament or the National Assembly is one of the tremendous responsibility. A guardian of fairness, impartiality and equal representation. They hold the power to transcend partisan divides and ensure that the diverse voices of our nation are given a platform. Unfortunately, we find ourselves witnessing a departure from these principles. Equity is the backdrop of democracy, embodying the very essence of fair representation. It requires a commitment to unbiased facilitation, granting every member of Parliament equal opportunities to express their viewpoints and contribute meaningfully to the legislative process. It is disheartening to observe the erosion of these principles as some members resort to tribalism and regional biases in their debates. On the 14th of June 2023, Honourable Charles Milupi, nominated member of Parliament and the Minister of Infrastructure and Urban Development made repeated differences in North-Western and Western provinces as the poorest regions in the country and also as provinces which have been neglected by all the successive governments. These statements, while provocative to those residing in the northern bloc of the country, were not effectively addressed by the Speaker. The incident which gives the example of regional and disparities bias statement which can lead to volatile actions of further tensions. Sadly, in response to this regional bias, I too succumbed to emotion and made remarks referring to my fellow members as foolish. I criticised Mr Milupi for his failure to acknowledge the economic challenges faced by Rwapula, Muchinga, Northern and Eastern provinces. I must admit that my emotional response was not in line with the Decrum expected from any member of Parliament. However, it is deeply concerning that the disciplinary actions taken by the Speaker appeared inconsistent and biased. The conduct of Honourable Tushkasanda, who is also the Information Minister, and their alleged bias ruling cannot be ignored. However, the behaviour of Honourable Tushkasanda towards the Speaker was worse in nature than myself, as I was in fact not addressing the Speaker, but my tribesmen. Similar instances in the past did not receive equal treatment, raising questions about the fairness, impartiality of our parliamentary proceedings, moreover. The recent protests of silence by opposition members of Parliament and some independent members of Parliament on the 20th of July 2023 further highlights concerns regarding the Speaker's impartiality. When conversations become tainted by tribal or regional agendas, it is the duty of the Speaker to intervene and steer the discourse back to unbiased and meaningful discussion that saved the best interests of all citizens. I must express profound disappointment in my own personal experience on the 21st of July 2023. I was suspended from Parliament for remarks demanding fairness in the distribution of development. Particularly advocating for the development of the Kashkishi-Chiengirot. While at knowledge they need for more major language during debates, I believe my suspicion underscores the presence of regional bias within our parliamentary proceedings. It is troubling that only individuals from certain regions are labeled as loan breakers, while those from other regions are held as vacuous. This incident saves as a reminder that we must address the underlying issues causing regional disparities and forced and national unity through inclusive development strategies and equitable police making. We must uphold the principles of democracy, fair representation, and the protection of human rights. Practices that promote bias undermine the integrity of Parliament. And also undermine the integrity of parliamentary proceedings eroding the trust and confidence of Zambian citizens in their elected representatives. Bear with me. I'm trying to, therefore, allow me to call upon the international community, human rights organizations, and fellow democratic nations to close the monitor the situation unfolding in Zambia, especially with the House where we are expected to be a place of justice in democracy. The National Assembly, the Parliament, and what is prevailing in our country at the moment. Solidarity and influence are crucial in addressing these issues working towards a society that upholds human dignity, respects diversity, perspectives, and promotes inclusivity and justice. I have been suspended for speaking the truth, for standing up for Luapula, where justice is found. I have been suspended for demanding fairness, for raising my voice. But they sought to silence and discredit my choice. Leading the protest of silence, I dared to resist that a day later suspended with clinched fists. A victim of their fear, yet my voice won't fade. I will forever crusade for the people of Luapula and Zambian citizens.  A Zambia where the speaker of parliament invades fairness, where parliamentary proceedings reflect the true spirit of honor and integrity through unity and unwavering commitment to democratic principles. We can restore the trust of our citizens and foster an environment where every voice is heard, valued and respected. Thank you for your attention and may we find the courage to stand up for justice and equality in our democratic journey. I thank you. Yes, ma'am. Good morning, honorable. My name is Victoria Paye from Ndano TV. Yes, ma'am. Having admitted that you might have acted in an emotional manner at the time you were responding to the Minister of Infrastructure. Don't you think again yesterday after your suspension you did act in an emotional manner where you uttered certain words towards these generalists that were seemingly capturing you as you were walking out of parliament and there has been a docket opened. What is your response to that in relation to what happened yesterday? Thank you so much. I must say this.  And you've been to parliament several times. And if you recall correctly, or if my mind saves me right, whenever UPND in opposition walked out, you never took photos of them when they were just leaving the chamber. You were taking photos of them outside the chamber, outside the buildings. The area where the generalist was, he was right there in front of the door, the main door. And what I said to him, why are you taking photos of me? Can you stop what you're doing? And the guy was smiling.  That's the house, the National Assembly, where all the media houses should be treated fair. If it was a fair thing, I would have not seen only one generalist. National Assembly has a photographer. National Assembly has people who are working in the media house who take photos. If National Assembly wanted to take the photos of the walk of the shame, they're there who should do it and they have cameras. When I was walking out, I said to the gentleman, can you stop taking photos of me? And the gentleman was very excited, happy, you know, zooming in. So I said, who sent you to take photos of me? And when you say I used other words, you must understand what is happening in the house. I'll give you the best example. If you look closely, what is going on in Parliament, we are there saying to talk. And not to be silenced of God. Each time we try to stand on the left hand side, our colleagues are always standing up on point of order, point of order, point of order. And they call us names, not even a single day, even in Souths. In Souths. Not even a single day you've seen any of them being suspended. No one has ever been suspended. What Honourable Tushka Sander did was worse than what I did. When I was walking out of Parliament, I was talking to the members. I said, you are the cause of all these problems because Honourable Milupi was insisting that these areas have been developed. So when you see me walking out like that, and I'm thinking this is now the place where democracy is supposed to prevail. What next? If that place democracy is killed, what next for the nation? When you want to compact something, there will be pressure. And when it pops up, it doesn't pop up nicely. I didn't even, like I've seen that I assorted him. He has to go. Videos are there. Videos are there. I was walking towards him to say, can you delete that? Yes, sir. Perhaps they fall up to my colleague's question. Other allegations that have come out in relation to the question that you just answered, that the matter that you have just responded to is that you also start from the same journalist. Can you deny the allegations or indeed agree? I didn't spit on him. You watched the video. I didn't spit on him. He was going downstairs. So I was talking to him like this. If that's what they call spitting, then I don't know what it is. When this government has made a decision to reduce numbers in parliament, they will do everything to those they feel they are strong. They started with Boman. And they will find a reason. They will find a reason. I think you are journalists. You are very free. Go on the National Assembly website. Get the whole video. It's there. And watch it, brother. I know this government. And I know how they want to penetrate Wapule. They will make sure most of us from Wapule will be found with cases to answer so that they can reduce numbers. In bi-elections, they will make it. And they cannot make it if they want to in general elections. Especially in China. You can watch the video. Yes, sir. Good morning, my name is Francis. I'm from Osaparit. Yes, sir. I have a few navigations. First of all, some clarity. Are you saying that this speaker is biased towards... Yes. Madam Speaker is biased. Very biased. She is. The best example, look. Watch the video of what Shushikasanda did. And what I did. Then judge for yourself as Zambians. And you know what? You know, one funny thing is that you can see the one seated. I cannot lean against this chair. Okay. Because of my spine issues. I tried to get... I tried to get credentials. Because the doctor put me on 14 days bed rest. I was not granted. Who approves that? It's a speaker. I was not granted for 14 days. So I was forced to be going in. I sit a bit. I leave the chamber. But Honorary Bochushikasanda. Honorary Bochushikasanda. We are given credentials. They were also sick. They were also sick. What do you call that? And when the speaker was doing the ruling for Honorary Bochushikasanda. Is when you are reminding a member of parliament. According to the standing orders. You were supposed to make a member of parliament to stand. But she was seated. You saw that. She was seated. And on top of that, the speaker said, Oh, I forgot to welcome my sister. The Honorable Minister of Information. And also my brother, Honorary Bonjamba. Then they left and I said, What about she? And she just ignored it. What do you call that? Watch parliament closely. What do you call that? She is the mother of the house. And we expect, even if she doesn't like me, she should have said, Oh, yes, even she ain't. But because you can tell, there's so much of hatred, which is there. Look at the latest that have been written to me. By after some of the members from UPND, like Dr. Kata. Dr. Kata Kueh was owing me money for some time. 900 kwacha. And when I sent him a notch to say, Stop this rubbish. Otherwise, instead of asking me, Honorable, what do you mean otherwise? He goes to write a letter to the speaker. I seek your agent's action. My life is threatened.  Does it make sense? I have even WhatsApp messages. That guy got my stuff last year. He only managed to give me money. 900 kwacha. He only managed to give me money when we're on tour. I think June also. And that's what I was referring to. I'm going to expose also your weakness. Whenever I want to debate, you're always on point of order. Point of order. As if you're an angel. Otherwise, I'm going to expose you. See what is going on. And they rush quickly to write letters to us. I've seen some members of parliament from the right-hand side of the speaker. They literally insult us. Even that day when I was leaving parliament, they were busy yelling at me. And the speaker takes it that I was talking to her. I've not been given a chance to explain. I thought by apologizing in the letter that I wrote, I didn't want to be called. But nothing like that. And to me, when I apologized, it was because it was just me shouting. When she was reading the ruling, she was saying the disrespect towards her, pointing at her, which I never did. Watch the video closely. Lastly, what form of action in line with the relations of the House as well as the Republican Council, which you want to be taken up in the speak and what could be your appeal to fill a position on peace? Who do you feel have suffered the same injustices? I think the only way to show the word, because numbers speak in parliament, the only way to show the word that we're protesting is to move the motion of impeachment. Move her. Because the speaker itself is holding the unity of the country.  How many people? You've seen, I think even the member of parliament, I think it's Wango Farah, there's a time when he was forced to, you know, to start exchanging words with the speaker. It's not that we're disrespecting. It's because we feel we are honorable members, elected and we're there to represent the voices of our people.  Imagine Honourable Chisopa, I don't know if he was laughing, not laughing, smiling. That offended the speaker. Why do you like laughing? Your question. So this side of us, anything you hear, whenever they say you're making noise or what, it's just the left-hand side of the speaker, the right-hand side of the speaker. There's no one who makes any problem. When they're calling me, even that day when I was leaving, when she says I went and I came back, I was answering back, I think it should be Honourable Mabeto was saying Le Shina, Le Shina. Because that guy sits the other side almost after the speaker. And she said I was talking to her. Honourable Campiongo was busy doing a point of order. I think it's Honourable Shingombe.  He said sit down.  Do you know what the speaker said? Do you tell your colleagues to shut up?  That's the mouth of the speaker.  But as when we say something to them like shut up, the speaker is being insulted. So she's biased.


The father absence crisis in America.  I'm not going forward There's nothing you can say to change my mind. I've seen it I coach women's basketball at college the biggest thing that they pushed was title nine Which made zero sense when you applied it to logic.  Why don't we put them in a small gym? Oh, no, well, we get to play in the big arena because the big the men are playing in there Yeah, they got 20,000 people screaming in there Okay, look at the attendance. Why does that make sense? Oh well because it's equal see That's dumb. What's happening when you remove the father?  Yeah, I did too. I grew up in a single mother household Never went to jail, but based on that statistic I'm the anomaly Okay, I made it so you can always point to the person who made it and said well that that person made it doesn't matter Child obesity more likely to be fat more likely to commit a crime Two times likely to drop out of school Then you get this beta male energy.


What is up, you guys? Don't have Jeff's phone today I You know That's what I'm going to do It's like I wish I was on a beach Do something that Love your new stuff the eyes amazing.  I haven't really done acrylics that much on the channel particularly not I don't know if I have more than like for sure less than 10 acrylic pores on the channel It's mostly resin, but I do also Alcoholics and Jeff's and airbrush work. You like to have a good mix of stuff That we dig in for you guys There they are the twins and my current alcohol Progress my first alcohol in peace. It needs a top coat. Oh I got you Billy. Okay, so I Will check that phone when Jeff gets back So I'm using this board And you time you're doing spray paint All those things that I should say I don't get in trouble for Recommending Our studio Well, they're still missing But yeah, you're absolutely right GP I will go back I'll talk louder feelings are 15 Second show you guys what it looks like I Don't have a good mic on this phone. So I'm just yelling Jeff isn't here with his phone I'll see I just started Morning Joe fish big artist loft Gina It is flat thinking about building a second story out of like scaffolding Because basically I'm out of room again Which is bananas because 2400 square third of the show that I'll show you guys My messy studio slash home I'm gonna do another prep video, but I Painted the front sanded it with 220 and 400 Then I spritzed the back with just some water out of just a regular spritzer like this And hit it with a heat gun and that tightens The canvas because this is I mean most canvas is linen Or canvas or cotton but Think of it like when you put something that's 100 cotton in the dryer on high heat it shrinks it up So you should be able to hear That um drum sound and today is from resin art. It's I'm a realist Moves enough calm down It looks like this. So it looks like the um The regular resin art pigments, but it's got like big mica flecks in it and I'm super pumped about Seeing how this looks in Resin my favorite one. Let me go grab it Please don't Just want it is but she's sent me a whole bunch of testers for my upcoming class, which is tomorrow So that's gonna be awesome Is that JJ? Okay, so this is a 40 nope 14 by 60 I have no idea how much resin I'm gonna need for this, but we're gonna start with Let's start with 24 ounces and then take it from there. Those colors are super awesome I don't have them in the store it worked too long Sounds fun, Billy I'm scared of working on glass. I'm afraid that like the Like you want the transparency and I'm afraid that I'll like take it over and It'll just get away from me and you won't even tell that it's on glass So it may as well have been on something that's solid. I don't know JJ I am going sparkly today, but not like over dramatic sparkly controlled sparkly is As controlled as I can anyways, I think that's what this is is the galaxy diamond pigment It doesn't say on here what it is other than the name of it Oh, right. They are my life. It's not glitter, but some of them look like there is glitter like the sea foam has like little specks in it that we look Like Which is fine as well you can use eyeshadow and other household stuff in resin. I did a tutorial on using Not a tutorial, but a video on using eyeshadow and one on using nail polish You have to use a lot of that stuff to make the resin actually like A vibrant shade of whatever you're using Same Ramona. I've used a lot of stuff. I'm just around the house. Okay, my arm is getting tired Which means I'm not quite done, but I was Right Billy is not a bad plan Just be careful. Sometimes you have to put so much in it that it just thickens up and it Ruins your resin. Just keep that in mind When you're adding dollar store stuff I don't want you to waste resin I feel like I'm baking a cake or making omelettes whenever I mix a bunch of resin like a batter I love that it doesn't matter how vigorously I mix this resin it never like shoots off those death bubbles I know y'all know what I'm talking about. Basically negative spaces But like negative space and then negative space Do y'all enjoy seeing negative space stuff or y'all like played out on the negative space? I know I do a lot of them Quests of things that you want to See done or viewed on the channel Also, let me know Pan over mix resin if you mix it too fast or too long or Too vigorously it can Make it start setting up Too soon and also even though this does have a super long working time. You really don't want to Waste time just mixing, you know Black with neon green pink and blue Listen me and green We're uh I'm speaking terms usually What colors do I have? I mixed the gold today. I'm using bright gold by just resin. I am out of my 007 and eight And this is my Other go-to for gold. I do overload my golds just a little bit because I feel like I get more of those like floating flex and veining When I overload it just slightly Hi, Kate. I should use the glossy side. I missed the second part of that question But as long as you're using the glossy side of your paper, it shouldn't stick to it Well, it's stick to freezer paper versus black paper Just make sure you're putting it on the shiny side and it should do just fine gold check Now for my fuchsia slash magenta color. I wanted something bright But that still has a depth to it So i'm using fantasy. Nope wild jasmine by resin art cherry by color obsession that cherry is slightly Um transparent or translucent. So this will give me a good depth to the color of richness While still allowing the shiny vibrant pink from wild jasmine to shine through So let's just see how this works a little bit I'm gonna show you guys this color. I don't know how well you can see it This is exactly the color. I'm I'm really searching for something that's red-ish But pinkish You know I really like mixing my own I didn't leave any resin for my Sparkly color, but that's fine. We'll just use some that I separated out for another color I know I think that color will be amazing with the gold Since I mix these in two separate containers I'm gonna mix them into each other just a little bit to make sure that the colors are the same Because I would hate to put some on one side and it'd be different shades. So That's what i'm doing right now. All right So i'm gonna need all that for my clear layer. So i'm going to take some Out of my black and white That I had separated out and use that for This andromeda not andromeda amaryllis. Sorry y'all Do color changing pain on that black? And right so I have a couple companies doing research for me on color changing I don't know if this color is gonna go Where y'all think I may have to switch it out for another color about this I'm gonna have to see if this one will look better So here are the two that I had In mine. So this is the amaryllis that I almost chose and this one is pink meat They're similar, but This one looks more Like it tonight for class tomorrow with fireball time. Well, what? JJ you need to go to class? So I think this color will be much more This is why you're not supposed to mix on your canvas. I'm just gonna get an alcohol red and wipe that up mixes in just as easily as Just as easily as For other colors. I thought there'd be like chunks, but the micas are basically dissolved into Like there's no chunks in it and it's got this like rainbow iridescenty Glitter sparkle to it interesting leslie Good job So I think these two colors will complement better than the other one So if you guys want me to start carrying these glitter awesomeness things Let me know Of course, you can get them from her website. Absolutely But if you're trying to one-stop shop it I'll carry it all So here's some that black.  They'll kind of Blow away Just want it to be okay.  It's not a bad thing. I just Used to have a brighter version of it is that You can mix it with other things and it works just fine, but I don't want to overdo it So I'm gonna use a new pigment from resin art This one is called mink pink and it's a glittery pigment that she just came out with And in doing so I'm going to incorporate a negative space ginging for which is basically a throwback for to stuff that jeff used to do Um a little bit often on the channel See how this new Micah glitter Resin art Pigment works If I start smearing this around and I have just a little bit of that pink on my hands It's going to just get everywhere. You guys are getting errors. That's weird Getting this around. I'm noticing Lights that are in base that I didn't get off Really well Which is okay. It just means that I'm going to have to Maneuver some of the design over those areas not a big deal Kind of structures how you're going to manipulate your artwork whereas If you didn't have that you could just do whatever you wanted to But it is what it is No stress We'll just have to put some of the pink I should have mixed the colors over the nope wouldn't have made a difference because there are streaks of That pink y'all that stuff looks great on black I can't wait to show you what for us Now this is a canvas and even though I've prepped it as best as possible It is going to sink a little bit in the middle. And so I'm just going to have to design with that in mind Which I don't mind that because it gives extra depth in that area As long as you use some transparent or Leave some clear Or do like double dimension cells It's great Right Quite the papers that I have on my website Absolutely use whatever it is that you want to use This particular paper has the proper weight that I'm looking for when I do this type of artwork If you're having made it or a little bit light When you work then different weighted papers will work better or not as good for you I'll do a video on that as well Pop a piece of cardboard into the back The reason that is Is that if you wedge it in between the frame and the canvas You're going to get a little bit of a A ridge on the upside upside Um You'll be able to see it and I'll I'll demo that for you guys as well But yeah, let's just get to it. So this color is the wild jasmine and cherry mixed together Native space pieces. I like to pour Just a thick line of the color It's my opinion that when you Put thin lines down working and talking is not necessary it um It can get busy Because if you put a line of color down and it gets lost you have another one and so they're never going to melt together So you're just going to have too much going on in my opinion Glitter put the bulk of it on this side The black side, but I am going to put just a string of it down this side as well And I know I just said thicker lines, but I didn't mix that much. So this is what If you have control over it Do thicker lines. This is just another batch of The other color that I make the cherry and wild jasmine So now I'm going to add some that black on this side And do just a string of it through here as well so that One of the colors will float on the other one when I maneuver it that way This white on this side and the gold I always warn people not to use too much gold because it will take over No questions asked So that's the only approved thin line I would recommend 50 Now I'm going to hit it with some heat and we're going to start the design work Because then your cells won't be And they'll just melt away on you Just keep that in mind Thank you, Phillip for a little bit of the black incorporated on this side, but I don't want to stray from Our game plan quite yet. Sorry about all this errors y'all. I'll try to figure out what goes on with facebook And to green Clara Speaking of Clara, have y'all seen her amazing Work Lady is insane. She can do all of it. She does all the things She's brilliant. You haven't checked her out. Check her out I'm gonna pull just a little bit of the black over I really didn't want it to look fire-esque that I can see That it's going to Also, I really like the black on this side. So I'm gonna Just put a little bit in some areas your swipes. I always recommend pulling your swipe towards you It just gives you more control that way. You can do it this way, but then you have to worry about your reach and what happens to your Wipe your paper after you get there you just drop it You pull this way then you have control So that's my suggestion Follow it if you want to Don't no harm either way. This swipe never put your paper in With this because then you end up creating a scraper Lay it flat and just let about a pencil width of the paint pick up Because then you don't get time to pick up and redistribute on your way Just a little tidbit of information So I'm going to It's probably gonna look kind of like a feather I may actually title this one something about Phoenix And we end up being like a fire feather I don't think that's a thing And rotate just add some more gold after You settle it still stands out brought more of that Okay, we swipe this one with more of that paint picks up and drops You guys notice I only get faster once I start the I'm not sure what's going on. I'll check on that. Um Put on that students videos over See what YouTube has to say about these errors I'm doing now. I don't want to like cover them up, but feel so wearing mine Take some this Which one can I afford to lose This one Put a little bit of white under it. Thank you, Kori These ones will sell similar to that side. I just haven't hit this side with any heat yet It all that's with anything that you do repetitiously y'all that was such a great word drop So I think anything that you do over and over will give you a sense of confidence and by all means I am no expert but this journey of posting every day with you guys has been One of the greatest things For me bad duty So this cleans it this is a little boring for me I may have to reswipe this one I accept I will be a swipe ninja purple Billy or a transparent black just one drop at a time That may help you And venture and you can tell me what do you think lighting work? I know Clara. I'm so Sure one day. I'm gonna get a plot So my favorite parts about this piece so far are This one because it's very like the mermaid hair This for sure because it's double dimension cells. That's there's white The black and the pink are all selling right each other and I've never done I've never had sell up like this before But I'm super doing it I also really like this section I think I need to rework this area this white this white And possibly this one what do y'all think? Thank you Billy close to kind of the cuffs on camera side Not inside Oh, so I know I should walk away at this juncture But I can't so I'm gonna rework. I just need to do something in this area. So now I'm forced to fix it Thank you electric wings And I appreciate the lookout Clara I can always just scrape it off and start over right See what happens? I feel like That's born from a part that won't the piece look too off in your eyes Gives you the freedom to not have to be perfect I think that The whimsy of the the medium itself Kind of allows you to let go perfection, which was Super super difficult of Jeff when we first started doing all four art We um Was not good with just letting go in this area look a little messy Because there's two areas where it's just shifted and run slightly so right now I'm gonna try to Just conceal it a little bit But it was a little bit disconnected I'm gonna try to bring through into the area Just like that So like this area is very rounded Only question I have now is whether I need to put gold painting in it Or leave it Thank you. Do you think Clara what do y'all think painting or no Any times I don't pull the edge all the way off I'll Okay, I blow the tip a little bit just to make sure that it's not a blunt any other way to say that Irrelevant it's done now thinks and settles a little bit. It's gonna lead this awesome vein of metallic reflective Gold and it's gonna look Absolutely You can see that the gold is starting to Vane up a little bit already See that Dark center There's flecks popping up in that area Those are the double cells.  What I really like about Powder golds is that they do that maron thing where they have like Just dots that float up But that's why I overload my gold. That's what the point of that is You can see that it's still shifting a little bit Where That gold sank But it's still left that fleck on top Which is What I love about gold a lot of flecking in that area and the more I hit it with a heat gun The more those particles are going to come up So there that piece is I'm gonna put you guys back in the full stir for just a second And put this piece up you right back some posters out Crazy it looks like it would just be there and not really melt into At the wrong assumption Thank you Paula. So this next color that I just mixed up is seafoam. It's one of those glittery So this is the first time you're seeing me do coasters Just so you know, I'm very haphazard with them. I feel like if I do design work or I just They're gonna end up being similar anyways so I just go for it Seafoam color. So Jeff is really loving that maker space You guys have one in your area. I really recommend it also Think I'm out with that maker spaces for our Tampa Orlando Jacksonville I contacted a church and ready arts. It's like a Store an art store, but ready arts basically blew me off Which is fine. I saw your message. I just haven't got my cheeks to answer anything yet today This color adds to or takes away from what Larry got going on over the rest of the day, but we already Wife That's fine. We're just gonna add some gold. Nope, we're gonna heat until kind of tilting over another piece So that I don't waste anything. What is all this carnage? I arted Anyways These are super fun The glitter is so crazy. That's in those I would say I'll take a true color video, but this is What it would look like anywhere else I can't Trolls It must be troll season It was a real troll.  Yeah, I know it. Well, you know what?  It was like a person that recognized That it was an art channel and commented on it and said that I was a girl You know what I mean?  It's not too difficult. I didn't say that. Yes, I did Starting to get those flecks These colors would be awesome in like a galaxy type thing Petra, do you get trolls on your channel? I'm sure anyways, you guys I gotta take out the babes Kujo is in his perch Right, Jacqueline Oh, you don't do lives This is where kujo hangs out On the bar. Have you been taking shots? Oh pretty boy Anyways, you guys I gotta take these boys out, but I will see you guys Nope, I'm prerecording for Saturday and Sunday because we're doing a class so um I know moose. I know so I'm gonna be Okay, come on So I'm gonna do a prerecorded videos Okay, bowie So I'm gonna do prerecorded videos for tomorrow the next day. So I'll see you guys back online on Monday Till then be kind of one another. You never know what someone's going through.  That's not sweet bowie enough. All right y'all