Hello, hello, writers. I'm Christine Kiefer, author of fantasy fiction and creative writing resources. And you are listening to the Well-Sturried podcast, where I share insights, encouragement, and actionable advice designed to help you craft sensational novels and build your best writing life. Always in 30 minutes or less, so you can get back to writing, of course. Ready for the show? Let's get talking. Come on in and welcome once again to the Well-Sturried podcast. As always, today's episode translates the latest article from the Well-Sturried blog into audio. Today we are breaking down 10 reasons for why you should write your novel in Scrivener, my absolute favorite tool for writers. If you would like to read along as you listen into today's episode, you can visit well-sturried.com slash 10 reasons.  Without any further ado, let's dive into today's episode. Traditional word processors like Microsoft Word and Google Docs are fantastic entry-level writing tools, but their limited features can prove frustrating when working on long-form projects. That's why I love writing my novels and non-fiction books in Scrivener, a writing app designed with the complexities of developing, drafting, and revising major projects in mind. Scrivener's interface combines traditional word processing with advanced file and folder organization, easy research and reference tools, and other incredible features that simplify long-form work. As much as I love Scrivener, I'd be lying if I said the app didn't come with a learning curve. That's why I've shared a series of free Scrivener video tutorials over on the Well-Sturried blog at well-sturried.com slash Scrivener. But today, I'd like to break down 10 ways that creatives can benefit from writing their novels in Scrivener. Shall we dive in? Benefit number one, house all your files and folders in one project. One of Scrivener's best features is the binder, an easy-to-navigate sidebar that stores the unlimited files and folders one can create within a single project. With the binder, writers no longer need to house an entire manuscript in one document or shuffle between dozens of files to find the right chapter or set of notes. The binder makes project management easier than ever. Benefit number two, customize the toolbar for easy utilization. Scrivener features dozens of unique tools, such as project bookmarks, targets, collections, and keywords. The customizable Scrivener toolbar makes it easy to access your favorite features with ease. Benefit number three, set goals with project and document targets. If you're a writer who thrives under pressure, then you'll love making use of Scrivener's project and document targets. Use these features to hold yourself accountable to your goals by setting deadlines and target work counts. You can even activate a visual progress bar and push notifications to keep you on track. Benefit number four, view and work on up to four documents at once. Using Scrivener's split the editor and copy holder features, you can easily view multiple files at once as you work, meaning you never have to switch between two or more windows to view your notes or drafts again. Benefit number five, import endless research files for reference. Have no fear if your project demands endless research. With Scrivener, you can easily import and organize your references in forms ranging from images and text to web pages, audio and video files, multi-markdown files, and more. Benefit number six, get focused with composition mode. All of Scrivener's bells and whistles needn't prove a distraction. When it comes time to get some serious words on the page, the full-screen Scrivener mode can easily help you find your focus. Benefit number seven, comments, synopses, and notes. Oh my! Never lose another important thought as you write. When working on a file, you can use Scrivener's inspector sidebar to give your document a synopsis, to capture revision notes, to leave comments on lines of text, and more. Benefit number eight, make revisions without regret. With Scrivener, you don't need to create a fresh document every time you start a new draft. Instead, you can use the snapshots feature to capture a version of your work, which you can then view or revert to at any time. Benefit number nine, organize, outline, and identify files with ease. Scrivener boasts several features that allow you to manage the complexities of long-form work. You can use the corkboard and outliner modes to visually assess and reorder your documents. You can tag files with helpful labels and statuses, and even create your own project keywords to easily navigate your work. And finally, benefit number ten, compile and format your manuscript for export. With your manuscript complete, you can easily format and export your work as a variety of file types, ranging from Moby and EPUB ebook files to paperback proofs, Microsoft Word documents, and beyond. The benefits of these core features are some of the biggest reasons why I love writing in Scrivener. Though tools like collections, project statistics, and the easy backup options also lend to what makes this writing app so incredible. If you had trouble visualizing any of these features mentioned in today's episode, make sure to check out the GIFs that I've included in today's episode transcript at well-storied.com-10-reasons. Think you might like to try Scrivener for yourself? Scrivener is available for Mac and Windows users for a one-time fee of 49 US dollars, or a one-time fee of $19.99 for iOS. You can also take advantage of Scrivener's amazing free trial, which doesn't expire for 30 working days. If you would like to purchase or download the free trial of Scrivener, simply check out the links included in today's episode transcript. Or if you already have Scrivener, but you're having trouble making use of the features, be sure to check out the free video tutorials I've shared at well-storied.com-Scrivener. No matter which writing tool or word processor you choose to write your novel, if it's the one that works best for you and your writing process, then you can't go wrong. Happy writing, my friend! Thank you for listening to today's episode of The Podcast Writer. I hope you found it helpful to your writing journey. If so, make sure to subscribe to the podcast so you never miss a new episode, and to give the podcast a quick rating or review. Doing so goes a long way toward helping the podcast reach new writers and lets me know that you're enjoying what I'm creating. You can also give me a shout-out directly on Instagram at christen-keeper. For additional guidance as you work to craft sensational novels and build your best writing life, be sure to head on over to www.well-storied.com, where I share blog posts, workbooks, e-courses, and other helpful resources for writers. Again, that's W-E-L-L-S-T-O-R-I-E-D.com. Thank you again for tuning into today's episode, my friend. Until next time, happy writing!


doping limits, band gaps, work functions and energy band alignments of undoped and donor-doped transparent conducting oxides Zn0, in 203, and SN02 as accessed by X-ray and ultraviolet photoelectron spectroscopy, XPS slash UPS, are summarized and compared. The presented collection provides an extensive data set of technologically relevant electronic properties of photovoltaic transparent electrode materials and illustrates how these relate to the underlying defect chemistry, the dependence of surface dipoles on crystallographic orientation and or surface termination, and Fermi-level pinning. This article was authored by Diana E. Profit, Thomas O. Mason, Stephen P. Harvey and others.


Dyw detyn ni'n ei chael quech, i'w hynny cymorth maen nhw...  A'r ddweud ar hynny, so, rwy'n meddwl dechrau am yr yw anhall sydd sydd arwad yn iawn y brif yn ei cael ei meddwl. Gilbert and George rwy'n cael ei wneud o'r ffordd, ond rwy'n gweithio'n fawr i'r fawr. Rwy'n gweithio'r fawr, nid yw'r arbennig, yna'r Argyllust Argyllust Argyllust Argyllust yn Llyfrgell yn Llyfrgell, yng Nghymru. Yn y dweud yw'r unig yw'r un argyllust ar y gweith. Mae'r un argyllust ar y gweithio'r fawr, ond rwy'n gweithio'r fawr, ond rwy'n gweithio'r fawr, nid yw'r un argyllust ar y gweithio ar y gweithio'r fawr. Mae ddintrwyddol yn sgwrs, teuluurai'n sgwrs, rhaid i wneud yr argyllust, ac mae-lunio'r ffnwys i'r mfawr wrth iddyn nhw'n meddwl ysgol. Yn ddweud o gywir gorfod o'r exubieth i gweithio'r ffordd i'r ffordd o gw weld yng nghymru ar gyhoedku mae'r fforddau yn ysgriffwrdd yn ei ddweud, a gennych gyda gwlad ymwylau, mae'r fforddau yn ysgrifwrdd yn ymwylau, ac mae'r fforddau yn technynodyddau. Fe yw'r newydd yn ymddangos, mae'r fforddau yn ysgrifwrdd yn ei ddweud, mae'n fforddau'r newydd o'r ysgrifwrdd yn ymgyrchu'r gweithio, oherwydd yn 2003. Mae'n gorffodd ymgyrch â'r cyfleidiau yn arfer y clywed, yn arfer cael ei ddweud o'r dyn nhw yw arddur yn arweithio yn anthartyr, ar gyllid a gweldodd yn Gilyddaint, Llyfridur, oherwydd wr Zeus. A'u gael amserio j fellowddon yng Nghyrch Llyfridur yn 2005, mae'n ni'n gweithio Big Llyfridur yn 2007 – mae'n bwysig yng Nghyrch Lyrdan Llyfridur yn y sgwr i'! Mae'n rhan oes gan i mor hwn i Llyfridur yn ychydig iawn – mae'n i'r ar flooding o'ch jau a gael o'ch maesio'n gweithio'n gweithio'n sanft Feithrannisysgol ac mae'n SEE ond maesio yn dwyfn yng Nghyrch Llyfridur – i San Francisco i Milwaukee i'r newid i'r ffynale climatig. Here it is at Brooklyn. The first thing I wanted to ask you is, I think the most consistent thing in your work that anyone walking through the exhibition will see is the fact that the two of you are pretty well omnipresent in the work. Do you see these in any way as self-portraits? Can people see them in those terms? No, we see all of our pictures as letters, visual letters to the viewer. So, like every letter that you write, you will sign. Every artist's sign is his painting. We took it one stage further and put ourselves in the picture. So, it's us speaking to the viewer. It's not just a composition. In fact, it is. We are the subject of all our thoughts. And that's what we're trying to make. All what is inside our brain, we're trying to shoot on the walls. But it's all based on us looking at the world, feeling the world and being alive today. Can we believe that in that moment that it's us speaking to the viewer, then it's very much to do with the viewer? If you think of being in a museum with a friend, if you hear somebody say, oh, come and look at this van Gogh over here, it's fantastic. They would never say come and look at this tree with a bit of grass because you know it's van Gogh speaking to you from the grave. It is even like a novelist. Is that novelist what he was speaking through the book? So, when did you realise and how did you formulate what is in effect a singular voice that two people have? I think it was based on being alone, leaving St. Marge's School of Art and not being able to do anything except walking the street of London. We realised that's it. We have to become the living sculpture. Out of all bad luck, always good luck comes, we believe. So, when we left college, most people would say that we were done on our luck because we hadn't been the goody-goody students who would get a part-time teaching job, we hadn't been the goody-goody students who would apply for a grant for a studio, and we had no money, we were very poor, we were living in the wrong part of London, but that in a way was the best thing that ever happened to us. In that moment we became the art, the subject and the art and the sculpture, everything. And not only that, we believe so much in ourselves that when we went around London to ask them if they would do a show of us, they all refused and we thought, oh, how brilliant! We thought we must be right. We even went to see the head of the sculpture department a year after we left, the famous sculptor Anthony Carrer, and we had a beer and a pub near his studio, and we explained our new thoughts and feelings about art and how it should be democratic and how we should try to create an art which had a subject matter and a content and a meaning and a value and a moral dimension, and you listened very politely, I must say, and in the end he said, well, I hope very much that you won't succeed, but I rather think you might. That was our teacher. There's an early example of you coming up against jealous teachers or figures of authority and you're in the, I suppose, traditional model of the avant-garde, you're kicking against the system in that sense. Now, here we are in the Brooklyn Museum 2008. You've had pretty well every honour that the art world can bestow in terms of museums and where you show and so on. So do you now feel part of the system that you were kicking against? Are you part of the establishment, or do you still see yourselves as outsiders? We feel totally outsiders. Absolutely. Nothing has changed from the first day to today. I really believe that. Nothing. It is still a battle, but a very good battle and one that we enjoy very much. We feel that our pictures and our exhibitions are still capable, as they were from the first day, capable of bringing out the bigot from inside the liberal and bringing out the liberal from inside the bigot. So it's always going to be an exciting time, and we like that. You know when we walked the street of London a certain kind of liberal people, they frown at us when they see us. Why do you think that is? They don't accept our views. They prefer an abstract work of art by a foreigner who's dead. Then they feel comfortable. Especially if it's a name that you can hardly pronounce. Vusbate Gilbert and Georgian Jackson Pollock's town. That's good. People I think will be very struck. Many people will know you, or at least feel they know you, but people are always struck by the image that you create, the aura that you create, which goes even something as superficial as the tailoring. Not that you're tailoring as superficial. It's wonderful, but that's the first thing that people see. How did that decision come about? What made two art school students at the end of the 60s in London decide that wearing rather neatly tailored suits was the way they were going to dress and that you've stuck at that ever since? I think because we are both poor country people from a sort of lower class background who believe in being correct and being tidy and people change into a good suit for a wedding or a funeral or a christening or to apply for a job. For important occasions you look proper and I think we just did that on a full time basis. And even when we went around with this box of ideas to all these galleries, we put on our Sunday best. We always said we didn't want to be the artist with an eccentric appearance, who was strange whiskers or sandals. We didn't want to be a hippie artist. In fact, we said that we'd dress like this because we didn't want to become the artist that the mothers would be ashamed of. It didn't quite work out like that. You mentioned the fact that there's maybe a shared in us in background that you said you're both country boys who came to the big city and that's where you met. Gilbert, you were born in the Dolomites so you came down from the mountains. George came from the south west of England. He came up from the valleys. But people all over the world, however much they seek to get on, we have differences of opinion. Hopefully we can resolve them in civilised ways by debating or discussing. But you claim, but no-one's ever really seen you argue, but do you never have creative differences? From the moment you've started becoming an artist together, do you always think as one? People find that very hard to understand or believe. We wouldn't do anything that's not productive that holds things back. Every picture that we do make, somebody else is not going to make, we're all being dragged at increasing speed towards the grave and we want to do pictures. Arguing would not help him at all. He'll be wrong. I think we learnt that compromise that works totally. Totally creative and totally what you call forward. Everything is forward. Everything has to work to the end result. That's important. The end result is the most important. Nothing else is important. It's very good to be clear this up because normally it comes at question time and somebody says, do you ever argue when we say, here comes the great heterosexual question? LAUGHTER You work pretty well. You work always in series. People who know your work will be able to recognise the different series that these works come from. But I suppose for someone coming to your work for the first time, coming to see it at Brooklyn, you've mixed up work from different series throughout the exhibition. But of course when you make the work, you would make 10, 15, 20 pictures with a specific location in mind and the work has a sort of singularity, a totality. How is it for you now seeing fragments of different series juxtaposed in different rooms here in Brooklyn? It's very, very good for us. You know why? Why? Because we realised that if we would have done it chronological, they would have said, oh, we only like the early pieces. And now that's finished. LAUGHTER Which is what you did at the tape. The tape was chronological. Even if you have the exhibition chronological, it's too relaxing, too easy for the viewer. They can just stroll through it like a cat, and just flick through it and see it all. If it's mixed up, we thought it was called anachronic, which is the opposite of chronological, but the underbite of the curator says that it's diachronic. Diachronic. And I think in that way you have to, the viewer has to think more, and even if it's very good, you can create a red room like Dan said, where the bomb picked it. It's roughly red, and then you can do a room that is 75 or 85, mix up the full colour pieces and the very black and white pieces together to see how they look like. It's very, it is more thought-provoking. What's interesting is, because again... And they don't look, you don't see, oh, that's an old one, that's a new one. They do seem to mesh, absolutely. But you plan every exhibition. You have models, you plan it with rigorous choice. Everything is known pretty well before you get to the space physically to hang the show where things will be. Do you approach making exhibitions in a similar way to actually making work? You take various subjects, you're playing with images, and therefore in a sense, this is an installation. It's a singular installation. I always think of the viewer, how they come into the room, how they will turn to the left, the next room, and that's completely the opposite of a museum curator. Museum curators and directors hang exhibitions to suit their taste, and we want to do it for the viewer, to guide the viewer through. We want to create emotional rooms that speak to them. That's very important for us. They have to be able to remember those pictures. That's how we work. If they don't remember pictures, we fail. Looking at this exhibition for two years, you've been made in a way to look back at what you've achieved over the last 30 years. Has it changed the way you've seen your work in any way? That's already finished for us. We're already on a big news group of pictures, enormous. That's it. For us it's future, forward. We think, in fact, that we got traumatised by doing this huge tour. We stopped making pictures for a year because we had to attend to the different venues and all the celebrations and things. Early this year, something got hold of us, as though we were possessed. We started to design a group of pictures and we couldn't stop. We wanted to stop when we reached 20. We wanted to stop when we reached 50 designs. It went on until somebody said that it was all right to stop at 153. We never did that in our life before. We never thought of it. We wouldn't consciously say, let's design over 100 pictures. My knee said to me, one acre day. One acre. That brings round, I think, to one of the key questions. The process of how work comes about, how it's made. How do you actually begin? Once there's a germ of an idea, could you just explain how you use images, how you have an image bank, how the pictures, how the series evolve, how you physically put them together? First, we need images. The images are based on what interests us. We collect images. All different kinds of images. Inside, outside personally. Different people, skies, symbols. So we have all this group of pictures, of images that go into a big bank of images. You've got thousands, tens of thousands of images. Hundreds of thousands. They are scanned in low resolution that you are able to call them up very fast. But our designs are all done by contact sheets on tables. We have to be able to see what we have in front of us. Like in a computer, you could not call up 100,000 sheets, but you have them on tables, you can have them. Then we design what we call, we have a rough idea, every day is different. A rough idea of what we want to do. The main thing is, when we go to the studio in the morning, is not to have any plans. We go completely, as though we're deaf and blind and deadheaded, we don't want to know. And then however we are that day, that month, that year, that is how the pictures will be. We have to lift them out from inside of ourselves, drag them out. A lot of artists are able to pluck pictures or sculptures out of the air. Ours are all coming from inside, from our thoughts and feelings and memories, our hopes, our dreads, our fears, all out into the emotional format of the picture. And sometimes, like we take a lot of images, and in the end, when we are in front of her, what we call, and we start to do the design, maybe we use only 10 or 15 sheets, because we are only into those ones. We're always looking for the moral dimension in the subject matter. We wouldn't use something because it's pretty or nice, or because it looks good, or has a nice shape or a nice colour. It has to have a human moral issue within it. For instance, years and years ago, we took images of chewing-gums on the street, which we pressed and trodden on. And you take them just after it's rained and before it's completely dry.   So a couple of years ago, we took some more images in another year, and then suddenly the moral dimension came to us. That some of those chewing-gums are there put there by a person who is now dead. Some of them are two days ago, some of them are in love, some of them are happy. Some of them went to war, some of them are 30, 40, 50 years old. And they're each put there by a single human being. And they're very neglected. Nobody has a good word to say for them. Nobody wrote a permit by chewing-gums. They're hated and despised. We thought we'd give them a chance, give them some love, put them in a picture. And we love them for that reason. I suppose that's secondary to pubic crabs and love subjects that you've collected and shown in your work. Yeah, we didn't love them very much at the beginning. You saw I made the mistake of asking you where you got those croup pubic crabs from once. It's a journalist who said, where'd you get me from? I said, the same place you get yours. Just finally, just to finish my questioning on process, you've always stuck to the grid and art historians make the point that you emerged at the end of the 60s when minimalism was one of the dominant modes of artistic expression and therefore they've likened your grid to that. Others have said that your work has resonance or associations with stained glass windows. How do you plead on either of those or where do you see the structural influence coming from? Because we started out when we used to have such a little studio in Ffonyir Street that we were only able to make a big picture out of small fragments. So we used to buy a packet of photo paper and at that time nobody was able to make a big artwork out of photographs. They never did before. So we had to learn how to make it more than just a photograph. So we started to put them together in some kind of kaleidoscopic structure and then we pushed it together into format. But it's all based on protecting the work and being able to assemble and put it in a box to transport in other places in nothing else. It's just very simple. There are no aeroplanes big enough to transport these as a single image. It's also very good because of the lines the grid controls the composition slightly. We're not completely free like the artists in front of the blank sheet of paper or the blank canvas. That slight sort of discipline gives us a very good way of making a more controlled design and it's very good for the emotion and the feelings we've used. But it was based on having a very small studio and trying to make something bigger than the studio. And not having any money as well. You mentioned the studio which has now got bigger but this is Ffonyir Street. A wonderful part of East London. You've been there for 40 years now. Does it still feel like the centre of the artistic world that you've created? When you're in New York, for example, are you still collecting images looking for artistic inspiration or do you feel in a different place if you like when you are in a different place? Does it inspire you in the same way that the East End of London does? I think wherever there are people in streets and dirt and dead things, I think we're always thinking and feeling. But we wouldn't go out of our way to make a top of graphical art. We wouldn't fly out to the desert to sketch palm trees or camels. But in fact we never took an image outside the East End of London roughly. That's what I thought. Yeah, we never did that. Because mostly in Moldon now we don't even do it in the streets of London we do it just in the studio. Just artificially. Just explain. For people who don't know though what has happened to that area over the last 40 years and how that's in a way impacted on your work. It did become an enormous international bubbling extraordinary place for people from all over the world and young people and designers. I think there are 200 galleries just in that one little tiny district where there was not one when we were students. When George first took me to East End of London it really felt like walking into a Dickens book like all this yellow light and this narrow street this 18th century house and falling down and all these dogs and it was extraordinary and just Jewish people at the beginning of the Bangladesh and some artists. Some artists. But we were some of the first ones. You say you love change though George. Change and rolling change every day. You've cut the art world's moved in there. Not at all. The Bill Goats who were right. It was very good. We've seen all the changes because when we moved there first it was Yidish speaking some Polish speaking, Russian speaking then it became Maltese then it became Somali then the Bangladeshi and our city boys we've seen the synagogue turn into a mosque we've seen the Jewish off licence turn into a Hindi music centre we even see the gents public lavatories and whitechapel turn into an Indian restaurant some young friends were recommending it to us they said it's very good food the service is fantastic and it's eating or take away. I said it always was. In the early work the general jungle for example there's a rural almost idealised rural backdrop but you talked about the east end of London you said you were country boys who came to the city London in particular that's your place could you ever now consider the idea of making art that dealt with rural themes could you ever consider moving out of London and going living in the country? Not in a million years we never go out in the country not once I mean we are dragged to what we call we have to see a friend of ours once a year to what we call little snoring but by force and what is it about the country that you don't like? I think because we were country boys the first few years of our art we didn't know how to express our thoughts and feelings with the city so we used trees and grass and bushes and London parks and then we became city people and we could read newspapers and watch television and take part in the urban landscape and I think we forgot completely the country I think it was two years ago we were invited to see a friend in the west of England in a small village and we went down to see him we got up early in the morning and it was so incredibly beautiful it was on an estuary and the sun was rising and there were estuary birds swooping down there was no motor traffic you could hear insects buzzing wide and we walked up a little high street and there was the parish church medieval parish church with all these lovely antique tombstones and the flowers one tomb was gilded and one tomb was still one tomb was Mr George was still and then outside the church was a very pretty young couple probably 18 or 20 years old and they had a little baby in a pram and that just sort of completed this whole idyllic scene and it felt sad and romantic and lovely and we said to the young couple good morning and the young man turned to us and said fuck off you weird looking cunts and we said now we remember what we didn't like about London so we ran back to London you mentioned the way the East End of London has changed you mentioned in terms of different religious groups cultural groups first the Jewish population was there that's Bangladesh and you said the synagogue has been changed to the mosque two years ago in London you made an exhibition called there were the Son of a God pictures which asked a question was Jesus heterosexual not surprisingly this I don't think even you were surprised this caused a certain indignation amongst certain people although not actually amongst the majority of the gallery going public and about 50,000 people saw it and there were very few complaints but clearly if you deal with religious subject matter in that way there's a question, there's a provocation there were you genuinely and are you genuinely interested in provoking when it comes to matters of religion, sex, race we just wanted to ask a question what is left of religion is it just a superstition or what is it because we are not believers and sometimes the churches did very bad bad things we were responsible for so many deaths I think that's very provocative and the position was provocative I think what the Pope says today is provocative we think the Christian leaders should be taken to the Hague and tried alongside Milosevic there are people committing suicide and murder at this moment in the name of Christianity in the name of Catholicism it's horrific what they do and get away with and they show new sense of shame whatsoever they put on their funny clothes and walk down the street towards the church with their head held high it's a disgrace it's extraordinary stuff towards when you're here the Muslim, the Christian all the big battle because now we feel it's much more than ever before if you open a newspaper in London it's so much to do with religion all the vikers, all the Muslims all pretending what you call going backwards going backwards I thought we freed ourselves from that so you said you believe that changes you embrace change is a good thing but this change in the world and in London in particular where there's a kind of rise of fundamentalism presumably you cannot embrace that that's why you're challenging it we would like to say forget it it's quite strange when we did the exhibition was Jesus heterosexual all we had to say was yes you must have been something or they could have said no quite strange because it had a very big review in the church times Anglican newspaper which never reviews exhibitions normally and in the Catholic herald again they hardly ever review exhibitions and they both wrote in what I would say in a very un-Christian way a very unfriendly, mean way I didn't think that was Christian but we did have an enormous support as well from the Christian community to be fair one lady came up to us and said speaking as a committed Christian I must say congratulations young men you're asking all the right questions in our troubled times it's quite amazing and when the exhibition went to Cassero de Rivoli in Torino the director of the museum was very worried about having the picture which he scored was Jesus heterosexual in the exhibition and she was especially worried because her great uncle had been made a saint and I said how did he become a saint she said he gave all of the family money to the church I said that's called cash for honours in Britain and she had to actually consult with her priest to get clear that she was not going to sin even when it arrived in Munich they had big trouble they called in the priest who was looking after the soles of the German artist can you imagine in New York there's somebody who looks after the artist's soles I doubt it but it's amazing that he's still there in such a big way amazing power we are not free from the church I wouldn't dream of going inside a church and complaining about what we're talking about so as you say you're asking these questions and it's often been said that people find your art shocking but you've also said that what you want to do is deshock just explain what you mean by that I mean they all seem to be shocked about sex and we know that without sex we wouldn't be here so what's so shocking I think because it's a museum or a gallery people are a bit more weird it's the problem page of a woman's magazine they were very relaxed they say save your marriage, suck dick if you say that in a museum you're in trouble yes particularly with the camera running that's good probably the pictures that still seem the most I mean I don't think people go into galleries and look at things and go I am shocked I think that's not a reaction they have I think that's a media construct but there's still many pictures of yours I still look and look again and think I've grasped it and then I need a double taken they still surprise me they still kind of shake me out of a complacency that one often has wandering around museums and institutions are the naked shit pictures where you use turds but you've used all your own body fluids semen, spit, tears when you were conceiving that particular series did you in any way discuss the idea that you may be transgressing a particular border were you interested in doing that how did they come about then are they a form of self-portraiture because they're your body fluids we're just trying to accept ourselves totally in every way that's why we wanted to do it without without a shield even I think that when we took images through the microscope of sweat and tears and piss we found all these forms in there in the sweat for instance you find swords and daggers extraordinary guns in the piss they're actually contents, they're meanings there and I think that's right the you inside of you is probably all over you and the discovery of DNA rather proves that they can take one piece of a fingernail from someone and find out that it's exactly that person so maybe the you and you is not just in the head or people used to think that the you and you was inside the heart I guess at the time we were designing those pictures a young filmmaker was making a documentary about us we saw him every day with the camera crew and filmed for some hours and he saw the designs for those pictures and said oh what fun you must be having such fun playing around with these things and we said no it's not fun at all it's very serious and for us it's very emotional oh come off it must be a big laugh shit and piss and he just wouldn't believe us and then a few days later he came in with a completely changed appearance he was pale and he looked completely different and he said felt you should apologise and he said why he said I realised that you were right about the images you were taking because last night I went as I do every evening to visit my sister who was in hospital having an operation to remove all of her bone marrow she suffered leukemia and whilst he was sitting at the bed the nurse took a sample of the spit and they took a blood sample and they asked him if he would leave the room for a moment whilst they changed the toilet and things and in that moment he realised that for that sister of his all of those things were a matter of life and death that it is what we are if those things don't work we are finished we'll run to the hospital or to the mortuary there's nothing funny about shit if you have to give a sample of stool to the doctor he wouldn't giggle it's an absurd idea but in the museum they'll giggle in front of shit it's quite different it's got a very delayed reaction but I've just remembered that a woman who was a member of the Christian community described you as a young man which is brilliant because you do seem incredibly youthful still although she must have been getting on a bit to call you young men with respect but there is that amazing youthfulness still I think about the work that you produce there's a kind of freshness to what you still do a few years ago sensation was here in Brooklyn which was the generation of British artis who came to prominence in the 90s it's often said that your godfather figures although godfather would be a little provocative given what you've just said but do you take responsibility in any way do you see yourselves as having an impact are you interested in the impact you may have had on British art which was parochial in certain ways in the 1960s now I don't think we have any interest in what you think about us except the viewer and except when we walk the streets of London we see somebody come up to us and say I saw your show and that's what we prefer than an artist trying to tell us something we don't want to know anything by an artist but we're very supportive that there is and will be constant groups of artists coming up it's very good every country needs more artists there are not enough no I think because we cut ourselves off from the artwork in London totally and we only come out when we do an exhibition if not they will never see us we are there we stand monks in some way mad monks of 43 and it works because we only want to see the world in front of us and nothing else we don't want to see art in front of us some artists like to see art we like to see things that are not art we want undigested material so you don't go to museums not ever unless you're exhibiting in them we're making an exception and it is much better because your brain is totally clear we're much freer in that moment we have big empty areas in which to operate and think and feel we're not cluttered with having to make decisions about things that we cannot affect even if you start to go near the gallery our politics start to be listening and we actually don't like it it's very important for us to be alone and free to do whatever we want and even because we don't have assistance we are doing it all ourselves from the beginning to the end except we have what we call you and gang who help us if not we are doing from the beginning to the end alone you and gang he's scanning us he's scanning you those are the two great privileges that we feel number one privilege is being able to go to the studio in the morning and say in our pictures whatever we want without asking anybody anything so that's an amazing privilege we don't have a form and a boss we don't have to write down to check with anyone in the second privilege is we are able to get these pictures together and bring them to a city this time Milwaukee and Brooklyn and show them to tens of thousands of people there's no other way we could do it we cannot go through a Milwaukee shouting blood tears, spunk piss you get arrested right in a museum you can get away with it so how has the art world changed significantly in the last 40 years what is the big difference between the art world that you entered as singing or as living sculptures in 1969, 1970 and where you find yourself now I mean at the beginning there was so few galleries like in London there may be three or four galleries now you have hundreds and hundreds of galleries and you have thousands and thousands of artists and the art world is so big now it seems everybody wants to be involved in art and that it didn't used to be it used to be very, very small family and it was a kind of international small family and everybody had to be very nice to each other because we were so few and it was a kind of international small family we were so few so now it's big but backbiting I don't know about backbiting it was huge, huge compared and also I think it's rather good because people knew artists and they knew the work of artists and they knew the names of artists in the early 70s nobody knew if you asked a person on the street to name an artist they would only come with Leonardo da Vinci or Michelangelo, they didn't know living artists so it's much better now let's throw it to the floor briefly because I think there is probably five minutes to ask questions are there questions that people would like to ask on the floor? Going on to something you said earlier I'm curious if you didn't have each other if you would be more engaged with other artists instead of being as isolated, do you think having each other opens the possibility for you to remove yourselves from the rest of the art world? I think being to remove self doubt and that gives us an enormous strength enormous strength I can't read anybody right because it's always said that being an artist can be a very lonely occupation but if there's two of you, by definition it can't be lonely or less lonely than if there's one of you good question I'm sure I haven't read any catalogs or newspaper articles about it when they see our work having an understanding we know that from people who stop us on the streets and people who write us letters I think it's very good if people want to see it in the sense of reading the introduction of the catalog and studying earlier pictures and other artists of our generation but it's not essential, we know that but interviews are very good I've come to work with very big interviews and maybe one way to the pictures I'm just looking I'm sure there are young artists and more senior artists in the audience too and you've never gone back to art school to teach you've said at the beginning that you weren't those kind of artists but I just wonder if you have any advice for artists who are not as successful as you or for young artists who are still at art school about how they might be successful what would your advice be? you've said too big you have the second one you have the second one we used to say when you get up out of the bed in the morning sit on the edge of the bed keep your eyes closed and think what do I want to say to the world today and don't open them and do something until you've decided that and then it won't matter what you do with a computer or a brush or a pen that's the way it goes fuck the teacher on which note you should end Gilbert and George, thank you very much


The theme toy story so in honor of that we're hanging on Andy's backyard let's go do this I think first thing first a little slinky dog dash slinky since 1945 there's a couple of other famous slinky toys like the slinky frog or the slinky train all aboard for fun I seriously want a slinky frog if they have one oh there you go I think my favorite thing a toy story land has to be evil dr. Porchop I see you slinky I really do love slinky dog dash but you see was vibrating so when I was laughing it was kind of like making that I think they're eventually gonna have to redo Andy's footprints because they're starting to fade away a little bit I'm glad they added for key to the mix here he's actually drawing a pretty big crowd I came in took a picture with them earlier and I waited for like about ten minutes and there was no photo pass like this isn't like a certified photo spot so yeah he's a very popular guy you're not trash for key oh boy toy soldiers that work you keep doing the best you can thank you one of the really hard things about toy story land is all their character meet and greases outside and they're not covered by any shade so we're gonna hop in line to meet Jesse and I'm gonna sweat it out all we have to do is go around this bin and then there she is right there check out the box of cereal over here for Jesse owes sugar frosted Jesse owes of corn and oats made by Battle Creek your critters will love them hi Jesse thanks oh you're a sweetheart see that I was actually gonna get in line and wait for Jesse but it was taken way too long and the heat actually was starting to get to me so I decided to get out and then a couple minutes later I get a kiss blown to me from her I love it well since we seen Jesse was actually heading back to take a break I bet you buzz and Woody and both people gonna be coming walking by any second now oh and there they are look at that look at Buzz Lightyear and that struck wow that is something unbelievable oh and both people oh I got a kiss from her and what he what a strapping young gentleman I'm having a pretty good day Jesse and both people blue kids who can say that Andy's backyard gets very hot because there's no shade anywhere like they put up umbrellas it is very hot all of the character me and greets are outside it is 98 degrees today and it feels like it's 107 so I'm gonna head into tour story midway mania do a ride and cool off a little bit fun for the whole family or just me I can legit feel the AC blasting out these doors oh feel so good already oh Peter Pan huh look at that and these toys are the only ones that can play with the fire sprinkler sorry everyone else I'm so excited look at them go look at this we got potato head to the camera sometimes I get wrapped up in the game but just looking around it's so awesome I've ever got an armadella whoa that was a cool change of usually I'm a little gung-ho about getting a high score but this time I just kind of I love Toy Story Midway Mania Q look how nifty all the walls are one-eyed Bart look at this though Sheriff Woody is on the trail da-dum-da-dum-da-dum-da-dum-da-dum oh I always forget that they have this nifty little shop here now at the exit of Toy Story Midway Mania let's take a look at some merchandise huh oh look at these coffee cups they come with a little forky to stir your coffee oh that is pretty nifty they're $20 that's not bad I really like this I'm a nervous wreck shirt too it's $24.99 well that's a little odd because they have a sheep mug here but the sheep mug has a taco on it I don't get the reference anyhoo it's $22.99 with the taco well I guess I take that back because all of bullpeep sheep have tacos on them so it definitely means something if you know what it means leave it in the comments let me know look at this they have a parachuting Woody you know these things I remember playing with them when I was a kid you throw them up air and they come down it's only $9.99 that's pretty expensive but it's here in Disney and it's only $9.99 that's amazing then we got a throwback to the original Toy Story shirt I like that $24.99 look at the cool pins got it handled bullpeep I like that I'll jump for you that's awesome and of course they got the ride pins earlings rolling saucer slinky dog dash and Toy Story land I don't know about you but I do not like Woody without his hat on or Buzz without his helmet on oh lordy I came out a Toy Story and I think we are gonna get some rain look at those trees oh my lord I feel like they're gonna fall on me this is pretty interesting I feel super cool now though at least but I might blow away I mean it is really powerful wind happening right now wow it was so beautiful when we went in and I was only in there for like 20 minutes things changed quick in Florida very quick before it starts to actually rain I better hop over here and get some tater tots oh yeah that's what I'm talking about tater tots and water best $4 I spent here all day I'll tell you what though Woody's lunchbox definitely has to be the most competitive seating I've ever seen I'll stick to the trash cans look at these wappy little potatoes I love them oh oh oh we got to get shelter man oh boy perfect I found a little standing table any hoos like I was saying I love these potato barrels absolutely the best well because of the severe thunderstorm approaching they shut down slinky dog operations and most of the characters went back inside so we're gonna have to call it a night chase happy birthday man really hope you liked me a little Toy Story Land vlog Andy's backyard was a lot of fun and thanks for giving me the idea to come over here and we'll see you next time love to like it live one last thing thank you to the family of Oklahoma for watching the videos and here's your shout out thanks so much for saying hi bye there you go


Thank you so much for coming here. I would be in a lot of time. I'm Kade and I'm going to be working for Collabra. And I will be working on asynchronous data to see what it is and why it is needed. So, maybe lots of you know that me and Collabra are working on the LibreOffice Online. And LibreOffice Online has very many of the specific needs and it's structured so that there's a website email which is responsible for the extra communication that the term has to provide. It connects to the LibreOffice and manages also the instances of LibreOffice so that it is possible to have one LibreOffice instance actually for each and every document. But that's it in a way so that it is not too resource intensive. So we do it so that there's like one process that actually has lots of LibreOffice kit pre-initialized so that the fonts are loaded and initialized and lots of other things are there and initialized as well. And from there we actually, by default, every time a new document is needed to be rendered. It also is server-bound which is the user's interaction on the document. So whenever the user presses a key in the jump-stick part it is sent by the web-socket, the web-socket server and then from the door like this it is actually like a pass to the right instance of LibreOffice that manages the editing of the document inside. This is all written in C++. Then a profile like this has a client path. So this is what actually the user sees is that it is for a browser and it's taking care of the interaction with the user. The thing that you can see on the screen is actually like the jump-stick for the menus so that the user interactions are open but like when there is something that is executed it is sent by the web-socket server and then it is handled the way how it is needed. It is a very useful tool to tell here what the document actually is. So the document itself is not text. What the user sees is actually a series of paths so there are pixels that are 256 to 256 pixels and this is right there on the server. Whenever there is a change in the document I don't trigger the user's change here in the client or triggered internally from the LibreOffice board for example like there is an animated GIF or something like that. There is an update sent to the server of the area that needs to be rendered and the user sees a new GIF. Why it doesn't feel like a series of GIFs? It is because the actual cursor is a separate layer that is painted in the jump-stick and so that is why is it easy to update it can be a blinking cursor because it will be very unfortunate to send a new GIF for a blink of the cursor. So that is a separate layer and when you move inside the GIF it moves exactly as if the user if it was composed from the real address because in this LibreOffice GIF that actually sends the positions from the cursor and it sends it as if it was rendered on the normal screen The same thing is true for the forward selections so still it feels like normal in the normal document. So JavaScript is used for the sliders or managed to empower status bar but it seems impractical to do everything in the JavaScript or many things are not impractical to do in the core. The balance we are searching here comes from the history of this document as a prototype when we render just everything everything in the LibreOffice and then slowly we are finding what is the right balance between server-side rendering and what is supposed to be in JavaScript and it seems that the right balance is when you can send a task for all the users what is the function here that we can send to all the users that's the correct thing to render on the server but when there is something specific for just one user when there are more people connected to the document that is exactly the thing that should be handled in the JavaScript bar So then we started with this cursor just as I've said but later it went on to data validation how commands in the documents so the normal commanding thing was first implemented as a renderer to the task as you see it normally in your business but then it was transferred into JavaScript commands which added lots of nice things here because the commands can float re-organizing the tasks very nice but what about dials? are something that we start the first implement in JavaScript itself because it sounds like it is specifically to do it on the user as well but it quickly turned out that the implement in the dials in JavaScript is extremely like a process that takes too long time so we had to find a special printer but then it turned out that it is much better to take the dials as they are in the office and handle that handle that to the JavaScript bar so yeah we started working on this thing nearly one year later and finally we had some root of the fruit filters out and most of the root was done which would be a big fan here unfortunately we had to stop it so now it is working the features are exposed there are lots of things here like the advanced character page for cookies we can see some dials that are here but of course it is not finished yet so now this is a bit easy exposing the dials but still you have to do some changes in the core for which of the dials I'll go on later like why it is necessary because like I wrote about some of the details here but like the first to actually see the dials it is now very easy to expose but then you have to check if it works for the cooperation or not so from the point of view it works so that the build on the dials is a feature that was done I think I said for the TDF vendor but then like we started to extend it so that it is more interactive it is not only like that you initialize the dial and the essential of that to be able to to notify actually the client the diagnostic client one of the dials is locked up because it is not necessary it is not always that the dial would be triggered by the user very directly it is sometimes that you already have a dial off that has a button to actually like it is hidden on the dial so it is something that you do not become controlled by the gem itself part because like when you already have our programming, one of the dials is running in the developer's game and you cannot catch the event of actually like running the dial you have to do the infrastructure in a way that like you met the past that sounds about a small part of course in validation of the parts when something changes into the dial because there is a small sort of like when you for example change state of the radio button or something like that you have to do the past and send it like the update of the area that is being made and things like that so for this work we have added a concept of the graphics game notify which is some general structure like when when you provide this to a dial like each of the dials can have a restore notify so when a dial has this notify it sends some of these events like we have found it like directly to the code like where it is necessary it causes a graphics game notify and then this is the graphics game notify takes care of actually like doing all that to the to the javascript to the javascript file this is just a summary of the things that have to be that have to be done in the notify because it is kind of bending down posting stuff about the new events about most events and stuff like that and on the end of the event these callbacks that that democratize that something has changed so windows indicating the actions that we must create that something has changed, size changed that was a or a cursor to because of course obviously the dials have their own cursor as well and what is quite challenging here is that the the dials have to be localized so so actually using that so we have to hack the javascript to be able to actually like force the language for the actual dial this is again in order to be able to have multiple users in one document but each of them would have their own language settings so like that would be one user that checks the other language and it is built for when we are making an hour for one user like directly for the painting which is for the other there are also lots of stuff with resources to do that to accumulate like these days it is much more generic and easier to do so how the conversion of the dials so the same and what is it actually the same so so change the volume of the smartphone the dials it is so that like normally in mobile dials the user would put for everything else so like when you put up a mobile dial you can be sure that no actions in actual in actual document are being placed so with that mobile dials like it is not possible for the other users to actually do something but we in the cooperative anything we actually need to do something else we don't need to do enable the other users to be actually that they still could edit the document and anything luckily lots of this stuff were written before we started this this passing written it is because of the geographies so that you have a manual until you actually execute some mobile dial so in this manual the events are coming in and it will seal so that like and other things that are going on can take place so even when the mobile dial was executed it still was possible to pick it in the way that you could have seen that it was still possible to type behind the scenes so this was possible like the next year if you have seen the dialogue the editing from the other users where the problem was like when two users actually open the same dial so like factory properties something that lots of users or the color of the phone or stuff like that and when these two actually open at the same time it means that there was this manual from manual there was an execute and from this execute it called heal and this heal again triggered another dial so it was manual execute, execute so in order to now close the dial both these executes had to finish so the events just worked like you were able to close the dial in a way that it was hidden but before both these executes actually were closed you didn't return to the manual so it means that the actual change of the executes was not applied which was the main problem here so we started to think like what's the change here so that like for example the user and luckily there was something that that already was implemented in the real face and it was started with mobile which means that it was functionally that allow you to dial return the control back to the manual so there was no execute that would be calling heal but when you actually started to dial instead of like getting this stack of like main look, execute main look did something to show the dial return back to the manual and the other the sense of the dial again just show the dial and return to the manual but it turned out that using the this was very practical it was like for each like when the execution actually ended you have to comply with the antiques so when you click OK you have to you have to code that that applies this and for this it was like for this exact model it was for us this is very new new slope for this move the code actually out of the procedure very rare to somewhere else so instead it thought it would be better to load the moves around use around them so you can see easy cases it needs to be very small very small change so either add it it's the original code the scope VCL pointer the original VCL pointer it is so that the lifetime lifetime of the dial doesn't end with going out of scope the scope VCL pointer means that the dial is distracted when the control goes out of the control instead of the VCL pointer just keeps it alive until after the dial is actually triggered to be closed the other thing that's changed here is the execute is changed to start to execute the same then you get the sound down for like actually taking the property that the started to get it it's called the result is what is then called when the dial is actually closed is the result and then you have the code that was previously here in many cases because it wasn't in the case like if the result of the execute was okay was something that was okay and why not to do it so in many cases it's just like this while you are using directly the code that is there so like there are more more advanced cases then it needs more thinking cases like this so using all those features here same style, same testing for this small cases as well then you just click through the dial and see that it is there for not mobile dialogues which was of course much easier because he inspired not using any type as a execute then you have that using the as a execute substructure for as a register the child window and then the code when you actually want to show the dial there is a little child window which brings that different space in the manual so it's not much right now there and it's very far from the box for the car so usually in the convenience sometimes it happens that you expose the dial in the online and it doesn't appear so very usually the dial doesn't have an error because it is not necessary for BCL and we needed the model to be able to set up the local power here so you just need to assign a view shell you need all that information so the right to call and press you actually have a campaign how to get the view shell so you just assign it there it breaks it again, under half you want to get the water but you have to do this it's one version of the same now it has this language for users luckily these days it's not a big issue still there could be some cases like where some way to cash so you have to check before it's suspected but these days this is usually without a bridge because in case you would like to you would like to expose the dial in the online and it doesn't work for you it's just for me for me yeah thank you well, I think the biggest problem is when you expect this in an hour but you usually just start with that so it's fun and here you can also sort it out in this infrastructure that's an hour thank you so much thank you I wanted to start a little bit but this problem is screaming again screaming again for example so basically it's still a change because we are creating new styles so we have so far bigger problems for string readers than just the dials it's not something that it's impossible to sort out but for users it doesn't it's very well it's like yes so we have some proof of concept thanks to thanks to Ash yeah thanks to Ash we have a proof of concept code for the sidebar and we will use these languages for the sidebar like the entire sidebar it is logically it is all behind the scenes logically it is detached from the window and then send as a window to the application and then of course like this it looks like like the sidebar online behind the scenes or that it's located in the window so we do not have to convert it in any way to the same but like it is necessary to have it as a detection window so that the resizing actually looks like the version for resizing is not that important but very important is that you can change the person and then you would be using that to function yeah very good


Studies have shown that our cells don't just communicate with each other chemically, the pharmaceutical world, they're based on chemistry. You put a chemical in your body, it gets absorbed and it affects the chemistry of your cells and then they do different things, right? But cells also change the way they work or change the way what they do through electromagnetic signals. And they did lots of studies about that, about how sending an electromagnetic signal to the cells actually change how fast they regenerate or how fast they create energy or how fast they eliminate waste. Isn't that profound? You don't need chemical reactions. You can actually speak in the language of your cells because your cells and your DNA actually communicate to each other through electromagnetic frequency.


Welcome to the channel. My name is Jordan. This is modern day muscle and in this video I got a mod that I'm going to do to the car and it's from a Merrick Moe Uttersports while as we're walking over.  So this might be a little difficult, but you push in oh No, that was actually pretty easy Yeah, but you push in and then there you go see And then let's do the other one Same procedure as the last one which I already cleaned out the intake holes already. So That's good Then you just push it in make sure it's snug and also to when you're installing these They they fade and snug if it's in loose or something like that. I would definitely contact the manufacturer But yeah, it's in there snug now, so Now you can see it I Really really like it. Um, I want to know the comment with you guys and see what you guys think about these But I think it looks awesome All right guys, that's the end of this video. My name is Jordan. This is modern day muscle This is your first time to the channel. Please subscribe and hit the bell icon. I'll see you in the next video


Alright y'all here we go 22 23 prison Premier League hobby 4 box Number one check the random results anytime late sports cards calm. Let's go ahead and get started. Let's pull the color blast Let's start the release day with a color blast Good luck y'all for hobby boxes. What are they ripping that up? Oh Here we go. We'll top load any like Holland base obviously Red mojo to start us off. There's a Brennan Johnson rookie is Diego Jota for Liverpool 83 and 99 with the color match Nice one that Reese James Silver Chelsea La Via Hong Min Sun remember The first prism soccer ever rips soca and son with a chase They're Premier League rookies A chill well wave not a repair lol for Chelsea there Yeah, I know some of y'all some of y'all think it's cool. You guys know Brennan Brennan s from a From Chad him and him and his wife are at the shop. That's pretty cool Very nice. Sure. It's a pretty cool box of a Illuminarius wave is Jefferson Lerma. So there's two different waves. There's a like a dark green and light green Although that might be the exact same thing one is darker mojo rookie tavern. Yay for Bournemouth again, this rookie this mojo is non numbered. It's very different in the in the world of soccer Might be a box hit though. I Got one in mind. Oh, yeah, I think an auto pack with a good color is welcoming up Purple mojo of Christian Pulisic. That's numbered five and it's once eat Chelsea. Very nice and oh my god No way that card exists. Is that I see one person. Oh My god Congrats on the peels it is a fantastic up fantastic pack here very nice first break those like five and twenty This is Barry's first break. He added his order. No Barry with man United Is getting a dual auto of David Beckham and Roy Keane? Monster for man you go Barry Couple of legends What a monster here, we're gonna dust this one off and get that in a mag for you Good Lord started off with a bang great Pulisic great dual auto Good stuff. There's a huli on Alvarez rookie base But by set it she's a hey say his name. I I was I know I've heard it and I've said it before and I can't I can't I can't replicate it hyper Malpie Everton Kaleidoscopic base is Declan Rice Carl, what's up, man Wave rookie Rico Lewis man city with a silver Ramsey for For villa Yeah It's got a hyper mcdomony Going to a man you lingard fractal Nunez Greenwood Sam Greenwood not Yeah, anyway Not that one red prism Fred red Fred I knew it I knew we're gonna pull a red Fred 141 of 149 man you silver conate For a Liverpool. What's that? Yes, he is Man City could seem to get our keen yos got a jota wave Liverpool pocketa There he is again bazoonu Christensen Rasmus Christensen It's going on everybody. Hey Shane. Hey legal. Hey Vaughn. Hey forest. Hey, hey Kyle Moreno pink prism for Leeds 194 of 199. I'm trying Travis. It's not gonna be that player It won't be that player unfortunately At least not Not the base parallel of that anyway Tarkov ski hyper for Everton silver Macrez for man City Campbell about face Call will blue prism is a oh boy. Here we go Kiernan Dewsbury Hall Lester City 46 of 175 with that color match Jota Sinisterra Tavern yeah, okay one box down still called last So Dylan's like origin of dust only top loads just like it's yeah, it's not I feel bad I'm thinking maybe just need to Maybe not top honestly like Are we ready to get like an air filter thing in here? Purple mojo another nice color here Is an average as a there you go palace 16 of 20? They got a problem mojo's So I'm saying man as a ampula stick to 20 trying to see is that what is that? What is this is that a groovy? That's a groovy a groovy James Ward prowess? There we go Southampton James Ward prouds groovy Such short print on the checklist. I don't know how should I don't know if it's like colorblast rare though. I just don't know I Think these these are getting more common than color blasts. I just don't know It says ultra rare, but I don't think they're like Ultra I don't know you know what I'm trying to say guys very nice groovy Ward prouds for Southampton a wave of McKenna We're nodding in forests silver mason mounts for Chelsea That's what I'm saying Vaughn at the old shop that we had them because they got them when Like COVID first hit and so they were already in the shop when I started working there And I think it helped quite a bit with with the dust and things hyperlamp tea For Brighton and a silver fractal Harry Kane Hey Travis hyper Kenny TT rookie for Fulham mojo Adara be a dara be oh Adara be oh for Fulham mojo and mojo's are a non-numbered. I believe the mojo is gonna be the box hit sort of seems like But I get one of mine Now we're up another one find out. I will need you've got Callum Wilson pink For Newcastle 147 199 Ward prouds wave for Southampton silver Gibbs white nodding him. I haven't seen one Holland base yet Where is he? Where is he? Hyper maybe they're saving it for a numbered card Jefferson Lamont for Bournemouth Klitoscopic Dean Anderson We could open the doors, but then the door chime goes off all the time. There's people out there talking Rico Lewis base rookie Red Mojo Aaron Ramsdale. Go Arsenal 96 of 99 with the silver Douglas Louise for Villa Key for more Welsh legend key for more If I if I pull an Eileen Holland base one-of-one there's something gravely wrong another Rico Lewis wave for Man City They have it's a stock for 299 99 a box free shipping worldwide You get a rip live you get all your Parallels top-loaded billing pink Bournemouth 72 of 199 with the silver Fabianski for the Hammers Shrouded always make jokes like oh, I I prefer East Ham over West Ham Just you know just Brad stuff Alvarez rookie Man City waved in dunker for Villa Green yellow wave Martin L.D. Silver fireworks for Arsenal Oh Good old work thing Here's the auto with a Jacob Murphy in front of it for Newcastle blue prism Ones number 94 175 and man United auto is Rio Ferdinand silver. Wow, man Legends and many I do be do be hidden. We'll dust this one off, too. There's a lot of card dust on these cards It's a very Gradsbury again That's the first break mojo Like honey glaze them What's up Yep, they have a lot of them and they sell well because they got a ton of fans is he I Wouldn't doubt it That's pretty good hyper Richard listen for spurs Nt basketball later on everybody got two spots or two teams for spots got 12 to go Granato rookie base for man you the blue Conte for Chelsea. He's supposed to be back soon 70 to 175 Chelsea color match Douglas Louise Silver. I think it's that's maybe by the end of the season They could definitely do someone like him even though they spent a ton of money wave Tom Kearney or Fulham Though with the hooligans at Costco, it's not like Lane. I think Lane's a Costco hooligan Hi for Tom Kearney Rookie mojo Ebi all way for Crystal Palace BK Ebi away So I did there So I did there pretty good Bobby Clark wave of parasitch Spurs if on parasitch So I haven't seen a hauling.   Jet Spence rookie That came out today Vaughn we're already there blue Bamford The leads 97 of a 175 pull the rocker. Just don't go a Harry Kane color blast England leading gold score There was a Lewis rookie. So here's another groovy. So that's Two in three boxes so far groovy soccer. That's a nice one.  Kyle soccer this dude starting to hit a stride too good stuff wave Tarak Lampti We're bright and silver Fraser new castle. I'll got you. I'll have to get a game pass again here soon so I can play it Without buying it because I'm only gonna play it for like two months Piper chill well for Chelsea She will Chelsea You know like Arsenal once it's not a good year. I'm not like Arsenal. I'll say that There were they're winning it this year. So go out Contra Orange for Liverpool 7 to 15 very nice Good stuff. There's silver sweet check For the hammers You think so Travis? I don't I don't think they will I do not think Arsenal are gonna choke Red Mojo, Tom, uh, Tommy Yasu for Arsenal 61 of 99 They have an eight point what they're either eight points ahead of city right now I don't even think city can even if Arsenal stumbled it can sit our can city even get consistent enough Yeah, it's here any wave for Arsenal Silver Vieira is that actually Donnie? I don't know if that's actually Donnie Donnie say something that only I would know Something that only I would know that Donnie would say Of course hyper Genepo For Southampton Mojo Anthony Robinson Jedi for Fulham pink Georgino for Chelsea Number to 199 9 of 199. I'm not either You could just watch stream and know we're gonna say something like that wave Calvin Phillips For city silver Macrez for city. Am I just like missing Holland base that we're passing. I don't think we've seen one He's the big blonde Norwegian. He's hard to miss. He must be I Red Lanzini hammers 249 sometimes Prismacolation can Be tough though Johnson hyper Fafana, but Chelsea silver Lloyd Kelly Bournemouth Sir Harry and a Lloyd in that pack. Okay, when Harry met Lloyd Traded for the van straight up Wave St. Maximum Newcastle silver Kaleidoscopic. These look pretty cool Edison city I'm getting I'm getting there. Yeah, we're getting there Donnie We're getting we're getting warmer. I'll say that Blue Wendy I for villa 12 out of 175 with the silver rookie Rasmus Christensen for for leads So this one has like scratches on the bottom right corner. I'm gonna send a box wrapper to the lead spots Noticable scratches not just like sort of mess over like prism surface. That's like actual scratches All right now, I believe is Donnie now I believe that it's Donnie now Good question, Donnie. No, I have not caught up. I'm literally gonna make my wife watch with me tomorrow We're watching a three and four tomorrow Hyper oldie say there he is. There's all he say Crystal Palace that guy's gonna get that Probably gonna get the summer big old summer transfer Get the bat the bags of the bat. Do you say bag alert? We got a Mara rookie red. That's gonna go to Southampton 66 of 149 and A Luke Shaw Silver Auto from Man United There's a ding on this car on the right side and I send an empty box shaper to Man United 62 of 99 three of the four autos were united The auto I pulled Boxes that we've seen That's not crazy for prison. That's kind of how it goes wave of Salah for Liverpool quite a scopic Havertz a Diaz purple for man City true purple is 20 of 49 Ricky silver Lewis O'Brien for Nottingham Forest a man you pretty consistently good in a in a I mean any product but yet present for sure Potein's wave for Wolves one sack will do a recap real quick recap I'm a little quicker on the next couple after this That again NT filled up everybody Of course I would mean of course Don't I go home when I work and then I come here and then I go back home Then I sleep and I wake up when I work again, and I deal with Shopify scrap our quick recap with Luke Shaw to 99 I believe yeah, it's a 99 this one does have damage get a box now for man you Firmino to 49 liverpool Ferdinand to 99 for man you again and for man you a David Beckham and Roy Keene auto Do a lot of beauty Thanks again everybody on to number two


The final pillar is the pillar of wrap around strategies. So for many, many years, we began to become aware of mental health from a crisis management perspective. What would you do if someone developed a mental health crisis in the workplace? What's the appropriate response to a mental health crisis? But we're more and more aware that it's important to have wrap around end-to-end strategies. So we're also focused now on how do we create an environment in which mental health thrives and we are more resilient to mental health problems? So what are those preventative measures that you can put in place in your organization? And then what are the post-crisis actions that we can be taking as an organization? Are we reviewing post-crisis to see if there is something that we could be doing in our environment to preventing that in the future? And is there a process that's in place to ensure that people are able to integrate back into the work environment without feeling shame or embarrassment and still maintain productivity and feeling like part of the team? Unfortunately, and I'm sure all of the HR ladies on the call could back me up on this one, once an individual is away from work for mental health issues for a period of three weeks, the statistics on their likelihood of returning to that workplace plummet. So up to three weeks, if we can get somebody back into the workplace up to three weeks within that three-week period, there's a pretty good chance that they will remain with the organization after three weeks. The chances of them returning to effective roles within that, effective duties within that organization begin to plummet. So are you responding in the prevention, early intervention crisis management and ongoing management and return to work response? Do you have policies and procedures in place that acknowledge and recognize each of these stages and the different approaches that each stage requires? Okay. So there's a lot of information in those seven stages. And as I said, some of them, you may need some kind of project, planning, approvals, policy changes, others you can start doing immediately. What's one thing that you took away from those seven pillars? Not one thing from each of them, but just one overall thing that you think you can start to implement immediately within your teams. Hi, I'm Amy Golding, director of psychology for the Workplace Mental Health Institute. We hope you liked the video. If you did, make sure to give it a thumbs up. We have more and more videos being released each week. So when you subscribe, you'll get a notification letting you know when a new one's just been published. So make sure to hit that subscribe button and don't miss out on this vital information for yourself, your colleagues and your loved ones.


Hello friends. I'm Sanjay Gupta. I welcome you on Sanjay Gupta Tech School. In this video, I'm going to discuss about interaction to apps, objects, tabs, fields and records. Before starting, let me share you how you can search me on YouTube. You can type my name. So on my channel, you can watch various Salesforce related videos. Now, we are going to discuss about apps, objects, tabs, fields and records. So first, I'm going to discuss about apps. So an app is a container for all the objects, tabs and other functionality in Salesforce. Second point says it is similar to a programming project where we keep all our code files. Third point says in Salesforce, app consists simply of a name, a logo and an ordered set of tabs. So this is how you can see apps in Salesforce. So there will be a menu from there. You can select a particular app. So this picture is related to Salesforce Classic. In Salesforce Lightning, we have app launcher from where we can pick a particular app. Then next thing is objects. So an object is a very similar to a database table in the force.com platform. So remember that in Salesforce, object is similar to a database table. Then second point says the platform comes with a number of standard objects like account, contact, case, lead and opportunity, etc. So these are some sample names. Beyond these names, some standard objects are also available. Those comes by default with Salesforce platform. The standard object support default apps like Salesforce Sales and Salesforce Service. So these are two default apps. Other than these two, some more default apps are also available. Last point says we can create custom objects in Salesforce as per the requirement of the project. So beyond standard object, we can also create custom objects in Salesforce as per the business requirement. So this is the example of data table, sorry, database table. So here we have four entities. So this executive assistant, associate degree, human resource, 60,000, 40,000. This complete row is known as the code in Salesforce. Then individual column like education requirement, this will be treated as field. So in this table, we can see five fields position title, education requirements, functional area, max pay, min pay, these five are fields. Then 140,000, this individual is a data value. And then this table, this complete table is known as object in Salesforce. So this way you can understand what is object, what is record and what is field. So this is the picture of custom object list page. So whenever you create custom objects, this way that object will be visible. You can click on this label so that you can view the information and you can add it and delete also. So if you will watch demonstration how we can create custom objects, then you will get to know about this slide. So this video just contains theoretical information. If you follow upcoming videos in this playlist, then you will see how we can create objects fields in Salesforce. So this is the detail page of the object. So if you click on this position, then this page will be open. So here you can see various details related to object and then standard and custom fields information. So again, this picture is related to Salesforce classic. So my Salesforce lightning videos are in other playlists. So you can watch that playlist if you want to know about Salesforce lightning experience. So this picture is related to Salesforce classic which is showing object detail page. Then comparison between standard versus custom object. So we are comparing them on the basis of three things label, plural label and API name. So if you talk about standard objects or name will be account. Suppose plural label will be accounts and API name will be account or custom label is student plural label is students and API name is student underscore underscore C. So this is the difference by which you can identify like object is standard or custom. So for standard objects, we have only name for API, but for custom we append underscore underscore C also. So you can read this note as well. Neural labels. Sorry, plural label is used for tabs and API name is used in any of the feature like work through apex, etc. So tabs and API name both are useful. We're talking about tabs. So clicking on tap. We can navigate around an app. So if you want to switch between different objects, then you can choose tabs. So every tab serves as the starting point for viewing, editing and entering information for a specific object. So tab is directly related to an object. When we click a tab, the corresponding homepage that object appears. For example, if we click the accounts tab, the accounts tab homepage appears, it gives you access to all of the account records. We can view detail of a particular record by clicking on it. Right. So you can have tabs, then if you click on tap then object with detail page will be open. And from there, you can select a particular record which you want to view. So this way you can understand about tab. So home positions. These are two tabs. So again, this picture is related to Salesforce classic. So if you click on position, so position object details will be available. So here it is showing no recent records are available. So if you click on this new button, so you can fill up the information and records will be created. And if you have existing records, so they will be displayed here. Now we need to talk about fields. So a field is like a database column. There are various data types are available in Salesforce to create fields by entering values in fields to create a record in Salesforce. So these are some data types by using these data types you can create fields. So auto number, formula, rule of sunday, lookup relationship, master detail relationship, external lookup relationship, checkbox, currency, date, date, time, email, geolocation, number, person, phone, pick list, pick list, multi select, text, text area, text area long, text area rich, text encrypted, time URL. So these all are available data types for creating fields. So this is a screenshot to understand how fields look like. So all these are fields like position, title, status, time, functional area, etc. And in these boxes, their data type is also mentioned. So for position title, it is of text field. For status, we are using pick list field. For travel required, we are using checkbox field. For max, we are using currency field. So this way, this box is showing which data type we are using to create a field. So you need to know the data type without knowing proper or appropriate data type, you cannot create valid fields. Then comes records. So records are the rows or entries in object which are uniquely identified by their IDs. We can create records by entering values and fields available in an object. They can create added view and delete or record in Salesforce. So this is how you can create a new record. So you need to click on new button. So this form will be available. You can fill this and click on save so that a record will be created. So here you can see various fields are available. So collection of fields, create a record and collection of record creator object. And to view or to navigate around object, we create tabs and collection of all the objects and functionality is known as app. This is a record view record list view. So it is showing all existing records. Then this is record detail page. So after creation of record, if you open it, so it will look like this. You can click on edit or delete buttons so that you can do required functionality. So this way we discussed about apps, objects, tabs, fields and records in this video. If you want to watch these things with the help of demonstration so you can follow this playlist. In upcoming videos, you will get to know how we can create these things in Salesforce classes for Salesforce lightning related videos. You can follow other playlist. So I hope you understood whatever I discussed in this video. If you want to watch more Salesforce related videos, you can search me on YouTube by my name. So keep following my videos so that you can learn programming. Thank you for watching this video.