I am the director of theater school and community programs at theater horizon. I'm Erica Nagel. I'm the director of education and engagement at MacArthur theater center. Okay, so as these guys have mentioned, we're going to be talking about relaxed performances, but we really felt like rather than do a sort of toolkit or a how to those things exist and also we exist and like there are bars and we can go have drinks and tell you more about those things. So we really want to use this as a framework to think about organizational institutional change and also it's actually kind of magical that we were paired with the executive leaders panel because the the sort of conceit of that panel is that it needs to stop start from the top and part of what we were experimenting within this cohort is how can change rise up from not executive leadership and elsewhere in the organization and permeate and shift the culture. So just to get a sense about relaxed performances, can you raise your hand if you're familiar with that term? Amazing. What about if you're not really familiar with that term, but you've heard of like autism friendly or sensory friendly work? Great, awesome. Have any of you done a relaxed performance or an autism friendly, sensory friendly at your theater? Okay, cool. Great. So of those that know what it is or some somewhat familiar with it, would anyone be willing to give any specifics about what a what exactly a sensory friendly or relaxed performance is? As in what what would it look like? Yes. Share some of what you do on ASL popping rather than changing any cues throughout the show providing or making it clear to the audience that you're looking to open. It's great. Yeah. Yeah, so the sensory friendly the elements of sensory friendly sometimes can be very specific to production, right? So these light sound kind of shifts and what you were also getting to Reagan and the way that we approach this through relaxed performances is that it's a larger umbrella of shifting your organizational culture, right? It's not the sensory friendly piece is one piece of it for us, but it's really about the welcome. It's about the intentionality and it's about creating a space that is safe that is judgment free and that is inclusive intentionally inclusive. And so that's how we are approaching this work and when we refer to relaxed performances sensory families encompassed in that. But again, as Erica had mentioned, you can take this idea of relaxed performance as a stand in in ways for aspects of community engagement programming that you may be thinking on, but also keeping in your mind the specifics of this particular conversation. So we'll dive right in and address some of the potential concerns or barriers that we each perceived in approaching this work. So I'll start. One of the biggest barriers that we perceived we've been doing relaxed performances I guess we've done maybe for five years we've done about one a season there've been a couple seasons where we've done two but usually it's one. And when we started our biggest fear was about how much we would have to change the art. We talk about ourselves as an artist centered institution and that's very the sort of artistic quality is central to a lot of what we do.  And we had the opportunity to partner with TDF and go see an autism friendly performance on Broadway. And the performance that we went to see was Spider-Man turn off the dark and about two minutes and we were like, oh we're fine it's all gonna be fine. And so although that was an early fear it was not it it's like so not a thing it's it's like one of the easiest parts it's one of the smallest adjustments that you'll have to make. The other barrier that we were worried about was I think there was some concern among the sort of council putting this together which we'll talk about in a little bit about our front of house staff and about our volunteer corps and whether they would be welcoming and judgment free and whether they could embody this. And again that proved to be unfounded we did offer them some training we did try to model that but it was not it was something that we were worried about that we just didn't have to be worried about. And we at PSF shared a lot of those same concerns and additionally because we were one of the theaters with the least experience in this work we came in very fresh and very scared of not being able to serve the community properly. And so while other theaters in the cohort had experience with autism drama programs or previous experience with relaxed performances on some level it was a program we wanted to institute for a long time and sort of backburnered it for a long time because we didn't have the resources or the knowledge. So going in with that fear was huge to be able to rely on our fellow cohort members to guide us through what was being expected of us how we can serve the community and how we can interface with them to know how how we can welcome them better into our theater space.  What is this? And we were first approached like you hear these phrase relax it sounds very heavy and and complicated and are we going to cause greater harm potentially are we responsible for being the caregivers and of course we're not the caregivers we are creating a space for individuals. So a big piece of our learning was just what is this universe and and how are we to be equipped how how best to equip ourselves we were also concerned with how our subscribers and individuals who are single ticket buyers were familiar with the culture of our organization how might they impact the experience of someone else by not being receptive to it or not understanding what someone else's needs may be in that space. So we were very mindful I would say we were concerned but more mindful of navigating that terrain for our subscriber base and those who are feel very comfortable in our space and are used to traditional theater etiquette. We were also curious will anyone come and what is the cost of such things what's the impact for potential loss of revenue the literal expenses loss of revenue and then is there potential income to come from this or is it all doing it for the the right reasons and is it all at complete expense for us and we learned that is not the case at all but those are ours. Yeah and and on the part of Theater Horizon in terms of perceived or anticipated barriers we didn't actually have very many anticipated barriers for because for the last 10 years Theater Horizon has already been serving this population and when I say this I mean specifically a at the the community with autism and we have an autism drama program where we run drama classes and writing classes for both children and adults on the autism spectrum and we've learned within the last few years that things that we are teaching in terms of empathy and and socialization skills and communication skills can really be extrapolated towards anyone that has issues with those things so we are now working with organizations that work with children and adults with all types of disabilities and differences so going into this we're like we got this this is great that was a bit of a mistake this brings us to our strategy section yes because one of the things that the we have learned and that we we went into this work doing was doing working with a consultant Roger Adishi and some others and doing and doing an all staff training teaching the staff which includes front of house and leadership and all of that about what a relaxed performance is all the different iterations that it can take and the particular population that we're serving Theater Horizon did not do that full all staff training because at least on my part I most we felt that most of the information would be redundant because none of the information was really new for us so when it came to you know actually implementing that I had lots of meetings with all of the departments about what we needed to do to make this happen and you know I got no pushback whatsoever especially from senior leadership because it was part of our mission was something we already did we were very familiar with it and it was a great expansion of of of what we could do to serve the population we already cared about so I definitely had the blessing of everyone but a blessing is slightly different than full staff and institutional buy-in because when it came to actually driving the what needed to happen to make all of the the small pieces work I was pretty much the one driving that which makes it hard which makes it hard and we're a smaller organization than others we have a a staff which fluctuates from about 10 to 12 somewhere around there so so usually there is I was the one that had the eye on is the language correct on the on the website are the packets created are the everything else and and making sure that was happening as opposed to now with now that we're in our second time having someone else in the company during staff meeting say hey the world our drop for relax performances how is that going is the website is the language on the website great hey those packets have you do you need any help with that what's what's going on there I'm now getting more we have we have accomplished the buy-in part that we did not necessarily have at the beginning because I was we were able to get the more people of senior leadership in the room when it came to being at the actual relaxed performance and being in in the training so I think that one of the biggest strategies for gaining that buy-in is is getting people in the room and to actually see the work that's happening as opposed to saying we're doing this thing these are all the things that you have to do they have to see the impact of what's what's going on in the work they were doing yeah yeah and one of the things that was really valuable about the cohort was that for folks that were doing this for the first time they could go to other cohort theaters and see it and bring some of those senior leadership with them so it doesn't necessarily like it can be a model of like just do it all yourself the first time get it through once people are in the room they will want to help you which is true that will happen but also you can go see one at another theater and some of that same experience or go to a ballet or go to an orchestra there's lots of different ways to do it in terms of a strategy at mccarter we started with a very interdepartmental we called it the autism council the first year so before we even decided whether or not we were going to do it we had a group of people and it was a very strategically gathered group it was people who are kind of sort of like the second layer in department so people who have enough power and influence to have some direct influence up but who are also like actually doing the work and are the worker bees and are not necessarily somebody who's going to delegate to somebody else so that they're coming to the meetings creating action items that they are that they are going to execute and I think that made a really big difference in terms of accountability that first year it was kind of organized at the time by our general manager and it was just because he had a passion for it and he wanted to do it and so he put this group together now it's a little bit homeless in our organization technically it is overseen by patron experience which is basically front of house and concessions but the ripples from that first council are still in effect so some of the things that were like the education department still creates all the pre-show materials just because that's what we decided five years ago so it probably is time for us to think a little bit more strategically about who's doing what but that interdepartmental nature of it for us has been like probably the most important element of its success that it wasn't just housed in community engagement or in education or in marketing or wherever the other thing in terms of strategy and I don't know if this is strategy as much as it's just like a truism is like it gets easier the more times you do it because you start building systems that are replicable so like you buy the bean bags the first year and then you have all your bean bags and like you create the template for your social story or your pre-show guide and then you have that template and you've already taken all the pictures of your bathrooms and your lobbies and your waiting areas and you can slot in just the the show specific photos things like our front of house team the first year showed up probably three hours in advance to set up the relaxation area and the quiet area now they show up like half an hour earlier and they all know how to do it the first year we were really intense about having like certified autism specialists on hand in the in the aisles and that has actually proven to not be needed and now our volunteers are able to do that and it's great if they can be there but it turned out not to be a selling point the way we thought it was for parents partly because they were like sure but you don't know my child like that's not a thing so just things like that that like the as you do it and as you do it over time it not only becomes easier because it's a shift in culture but just literally because you already have the systems that you've built and much like Angela I also made a sort of false promise of I got the blessing from from leadership and then said I'll take care of all of it and then it ended up being everyone needs to help me take care of all of it it's just the nature of the work but what was invaluable to me at PSF was being able to leverage the support of the cohort and TCG and our specialists to help make decisions because like Erica said at first year it's all decision-making um on the tiniest tiniest levels and so even just getting it on our calendar and if you know if leadership would say no you can't have a weekend performance I would say but people's lights as weekend performances are best or no you can't have this rehearsal time this never happened this is an extreme situation but no you can't have this rehearsal time uh our world renowned specialist says I need rehearsal time with my cast so it was all these things being able to go back to the cohort back to people who have done programs like this who have instituted these performances and being able to leverage all of that support to come into my into my organization and and get the buy-in from everybody who also didn't exactly know how to approach the work much like me but having these specialists sort of as a support system was was invaluable to us instituting these successfully in the first year and as Megan mentioned the you know it didn't we have a Tuesday night sometimes you need to work with what you have as far as capacity if you have one night that's underperforming and and it's the Tuesday evening show that's what you have to work with maybe for a first year of trying something out take that see what what happens because um what we were able to do as part of strategy for people's light was then we were able to gather so much data around okay anybody who had an impulse to come express an interest in coming that didn't show up on that first Tuesday night when we offered it what were your barriers what would be a different time when you when would be more convenient for you to attend well weekends well matinee great I took all of that and said okay my friends in leadership with me we need to give if we're going to do this this is the audience's need and what are the other barriers price what's the comfortable price point and we've settled on a model where it's a half price ticket across the board for anyone a $15 ticket for with a special promo code that we pump out to targeted constituencies and that's become something within the cohort that we've been able to leverage that across other organizations it's like well our regular ticket price usually $55 like but this is what the community has told us and so if we're really interested in serving them this is what we have to make available because it's not just um it's not just one ticket if you're thinking of bringing the whole family if you're thinking we might have a meltdown on our way out you also need to have a fully refundable a full a full refund policy is what we implemented at people's light and we're able to leverage that with others in the court say oh my gosh that's terrifying our theater would never allow no questions asked refund policy it's never never been used no one's ever asked us for it but the comfort of knowing that it's there has allowed so many more people to try and to minimize that barrier of potential risk so price point time and if there's anything that your organization that you feel like okay we can't negotiate that right now gather the data find a way to figure out what is the story we we need to share internally to make the change happen and you know calendar is so significant in that um please also in addition to these sort of decision-making processes what uh karmann was saying last night too about analysis so much of this is rubber to road of just getting the things done we also spent so much time I think forming very careful analysis of what we have done what we are doing what the results were and and organizing that into a sort of manifesto for the entire cohort of best practices and sort of what we all agreed to of that we will talk to our community before we institute best practices or whatever our policies are and also policies like the full refund and that kind of thing so that we were all on the same page and even though we're completely different organizations large small different regions some on college campuses some closer to the city we were still able to to utilize these very general best practices and general policies that serve the community best no matter what setting we were in as a theater thank you again um and the the question of I'd mentioned about how to engage our subscribers in this um in the first year we were really precious about it because we didn't know what we were doing and we're nervous and so we're very precious and we really specifically invited those targeted constituencies that we thought might benefit from the performance and we didn't promote it heavily with our subscriber base or single ticket buyers and immediately after that performance we're like oh no we got to blast it open like if this is about we don't want to this is desiloing how these are um families and and individuals who are not oftentimes seen publicly engaging publicly for all kinds of reasons and past harms that we ourselves are guilty of and so it's allowing our subscribers it's literally building community literally welcoming everyone in and allowing our subscribers to opt into that it's not taking a performance saying hey subscriber surprise here's here's some other friends to meet it's about how do we allow this space and welcome folks to choose to be a part of that to opt in and promoting that heavily with our subscribers and the way um that we rolled out that information came in the form of kind of an unexpected PR campaign as um it had been mentioned from Milwaukee rep um panel the conversation just a moment ago how Milwaukee rep does an annual um at Christmas Carol they solicit donations from the stage we did that as well and put in there an explanation of this work that show that you just experienced we want to make that available and accessible to others who may not feel welcome who may not feel that it is for them we're making these adjustments and we are committed to this work we we need your help to make this happen as a community and so every day our actors got behind that message our audiences were we're feeling this and like oh what what does that mean and you know we consider our subscriber base to be one this one kind of entity and yet we all have individuals in our lives for whom this kind of work could be beneficial because it's not individuals on the autism spectrum certainly um ADHD um individual with Alzheimer's and dementia folks with very small children anyone who would benefit from a relaxed environment I dig that often you know and it's not only a relaxed environment it's a celebratory environment because it's a space where we're all bringing our fullest selves without apology and that's refreshing and that's something that is contagious in an organization as well so um in order to build that PR campaign and let our audiences know what exactly this was um part of that was that that speech at the end of the show also it's the beginning of the performance on the day of in the curtain speech you set the ground rules um right up front and being able to make we kind of make a joke of it that it's a no-shush zone nobody gets to do that and people are like oh right I got it so if you're that audience member who might be guilty of judging someone you're the whole audience you're accountable to everyone because we all heard those rules together we know what this is and it's modeling the behavior so that this is the invitation and so you have the power to do that in those kinds of um windows um and we did that oh yeah Megan mentioned the listening tour how to know what's needed um the the dash in in the um the disability community of nothing about us without us I mean that should be everywhere prevalent in our work and community engagement and it is so deeply true um in this in this occasion that for our advisory councils for the work we must have the voices of individuals whom we hope to serve and benefit directly participating they should be involved in the planning process in previewing the shows with us and having multiple perspectives across our organization um because and all four of us will see something complete we'll see different aspects in a performance to know elements that might want to be adjusted or things that different invitations that could be made in ways that we can um better contextualize the show because as um Erica mentioned the um the changes that you make actually we're hoping it's pretty minimal you want to keep the art and the integrity of the art intact with this kind of work and sometimes it's about the context you provide around that with social stories with pre-show materials so an individual can prepare themselves it's the trigger warnings it's letting people know here's what you need to to be prepared for here's what's coming and however you need to to prepare yourself for that experience we're giving you the the tools to know it's out there um so yes and then having a listening chore that's how people's like prepared our biggest strategy was going out to members of the community saying hey this is what we want to do we don't know what we're doing what do you think about that what's been your experience and some folks who had been to um a TDF performance on Broadway were able to say yeah this is great that they did it but we had to wait outside for 45 minutes before they opened the doors they let us in the last minute we were you know cattled in there and you have your jackets and it's winter and what do we do we're all starting to okay so we are going to have um when we sell tickets a group of individuals you buy your party's tickets and then space on either side of you an empty seat easy you know these are things that we can just do to allow that breathing space and we also have sections of the house we just don't sell and if you will need to move in whatever that's great um so being listening and then acting on those strategies making sure that you're absorbing them um and how to keep it make sure your evaluations serve you so anything you're asking we leverage the cohort um like tcg tcg needs this grant they need to have um evaluate of stuff from us so executive directors of every one of our organizations we need a statement from you about what the impact of this work has been and so we all did that we all created this collective manifesto together which we were able to say to our organizations we've adopted this did you know that we've created this we've adopted this and this is now part of who we are right and everybody's able to be on board with that because they've had the training they know where it's coming from um and that was really really really powerful um but but but that's what i'll say on that bouncing off of that too it confessing that that's a moving target as well absolutely i recently had a staff member at a different conference be asked about a relaxed performance work and he could not speak to it which is not encouraging for me and just a signal that i need to share our story i was not as lucky as cedar horizon to maybe get all of my leadership in the room when it was happening obviously when you're in the room like you said it's you you feel it it's infectious and the proof is there you can you can't help but see it but that's also a challenge for me is just to be able to share my story in my organization wide enough so that everyone can speak on it no matter what setting they're in because we need to constantly be finding our allies in this work in our organization and in the community um so we're gonna wrap up talking just a little bit about some takeaways or big biggest lessons that we've learned and then maybe we'll have time for questions we've been talking fast so are we live streams okay cool so one of our biggest takeaways um early on but it has continued to be true is um the the challenge of marketing and the first year that we did this we were like we're doing this show and on this night it's a relaxed performance that was terrible that was not a good way to do it we also the first year leaned really heavily on our community partner who had been amazing in terms of coming in and helping us see things that might be potential triggers and also things that we were like being way oversensitive about and they were like it's actually fine um they had volunteers etc but and like all of those things um are in their wheelhouse and in their expertise they are not arts marketers and we were leaning way too heavily on them to get the word out and to reach um their constituencies so um so we shifted and we're an organization um we produce and we present and so we ended up just kind of shifting our mindset of like the relaxed performance night of the show needs to be marketed the way we do like one night with joshua bell like that's the same kind of um resource and time and attention that it calls for um we also shifted because we produce and present um we've had we had a couple seasons where there sort of wasn't an appropriate show um we've been leaning towards when something is more family friendly that's a whole other conversation of whether that's like the right strategy um but we uh we started looking for um presented events either that were already um built to be sensory friendly or um where that artist had a particular um uh affinity for that work and might add a uh an additional performance or where it just was like that like we did a like a muppet muppet sing along with the muppet movie event and it happened to be on world autism day um and we contacted the artist and we were like how do you feel about making this a relaxed performance and they were totally excited about it and now they've added that into their touring package that they can offer um so so that was a shift of just like what actually is the content and it also came to all the data we had of like we want a saturday matinee um and how hard it is in terms of um potential loss of or the perception of how hard it is in terms of the potential loss of resources to give to to uh i don't want to say give up to dedicate um a saturday matinee in your run yeah um so that's partly why we moved to that model however meanwhile as all this has been happening in addition to the data of like we want a saturday matinee everybody says we want christmas carol every year um and talk about a show where it's hard to dedicate um a full performance in terms of revenue um then uh and it was really great in terms of having like the posse have your back of the cohort um to be able to go say this is an issue have you know have marcie be able to say like we do it for our panto and that's our that's our equivalent um and other people sort of help brainstorm etc then this year we had a really um interesting thing happen um we're looking at christmas carol hopefully for next year i can't make promises on howl round um actually became a solution rather than this sort of white whale dream um because we had chosen a presented event um and the way that uh it got budgeted and scheduled um ended up being tricky for for the community that came and we ended up having to kind of scramble at the last minute to get people in um and shift our pricing structure etc we ended up with a pay what you can which actually ended up averaging out to fifteen dollars which is what we should have priced it at to start with um but uh in that in that sort of scramble feeling which is a feeling we really we work really hard to avoid at mccarter we really try to not be in a frantic space um and that feeling led us to you know all of a sudden we we thought we were solving a problem by creating a special event for a relaxed performance but it actually created some new problems and boy there's one show we do every year and we and we know the calendar way in advance and it's family friendly and there's a couple shows after christmas that have lower uh inventory um and there's a matinee that's one of those shows and like boy that sure takes a lot of boxes of all the data that we've been getting um and so now we're we're on the verge it hasn't like you know it's not stamped and signed um but it was looking very likely that that will happen next year so i just say that is like one of the takeaways of this process is sometimes the things that you think are out of reach um if you just sort of never let them go and keep them in the conversation one day you might uh and this is for any community engagement thing not just for relaxed performances you might be in a meeting where it's like oh we're having this huge problem only we had the solution and this thing that you have been like waiting for the perfect moment can actually be the solution um in that moment oh yeah that's me okay um other takeaways if I surprise this um consider the invitation I would advise that consider what the invitation is how your space how individuals might be experiencing your space coming in and thinking about this universe as um erica mentioned the marketing piece of this the branding is huge for something like relaxed performances because it's not like marketing marketing that you you know set up the postcard you have the mailing list already folks are going to come and be excited you're reaching a brand new audience who are not immediately trusting of your ability to serve their needs because there's no track record and because there's a deep amount of past harm that you need to make up for and prove you've done your homework so a lot of this is actually one to one you know and then tapping into those networks where people do um have trust built and across our cohort part of that huge priority was to establish a brand for the experience if someone has come to people's light and experience our relaxed performance they can be confident that when they visit psf theater horizon mccarter the rest of our partners they are going to have an experience that feels it similarly welcome and that that they have elements in place and that's also part of the manifesto but all what all of us share in um our promotional language and in the materials that we prepare in advance so it is a different kind of marketing and that very easily can go into effect for um many of our community engagement offerings right if we're reaching out to a community we haven't served how are we building that trust and delivering on that from building starting from one place and continuing to deliver on that promise um also um finding your allies your advocates your partners across the organization um finding your posse as erica said it's you know it can be in various departments of the organization um board volunteers board members who may not be able interested in coming not know what's happening invite them to volunteer invite them to be engaged is made to getting folks in the room is so so important but drawing on people's individual expertise and perspectives in a lot of different ways um it does need to kind of come across the organization and finding who are your anchor partners we know that it's essential to have multiple cultural programming opportunities so it's not you on your own as an institution who has your occupational therapist who has your whomever else um that you're working with if you're doing one performance a year someone's not free on that day you're not serving that population in a meaningful way and what we were able to do is create a season of this work across our organization it was really intentional that we wanted to do that so there are multiple offerings somebody might not like a panto a christmas carol any number of one offering that we have but with multiple ways in it's the way anyone can opt in for for the content that's most interesting and compelling to them um other anchor partners can include um who who are the experts that you need social workers occupational therapists um special education teachers um uh school partners having a school partner was a really significant um throughout our work within the cohort um for people's light anyway and just considering what does this constellation of support look like for you um and the needs of your organization and I would also mention that it it kind of it there's an intentionality to that and there's also as it begins to happen the momentum just goes and we experience the people's light I mean maybe it was a four month period after less than that after the first relaxed performance we did it like it just kind of catches fire and as you have the right people in the room to continue to proliferate that message to others it I'm encouraging folks to be intentional across the organization but it also kind of organically just happened at people's light that we had folks in production folks in development folks in all different walks across seniority across um age experience level department who are deeply bought in and you can't have experiences like these a relaxed performance kind of experience um and it doesn't change the culture and temperature of your organization and that was something for us that as a really meaningful surprise and sharing is that you I hope with a lot of our work you you have new eyes and that you see the world in a whole different way that allows you to question all other aspects you thought you knew about your organization who is intentionally invited who is included who might feel excluded intentionally or unintentionally and right and so how can we begin to investigate all other facets of our programming and and consider that that invitation I also um I also wanted to mention that it's um are we here yet yeah so there's um we have experienced in the community in the Philadelphia region after um I don't know Philadelphia was kind of catching up to some other quadrants of the world that have been on this work um but now there's been a 600 increase in relaxed performances over a two-year period from before we were gathered as an official cohort to the years that we were working together and it's only ramping up and growing from there it's not just us now the Philadelphia the ballet got on board and wanted us to consult with them and share our learnings which we are eager to do right as you do it you want people to do this Philadelphia ballet the orchestra um Philadelphia theater company others in our region are now taking this on as well and aligning and and developing their own levels of partnership so um oh yeah and it's income generating it can be this working you know the first time maybe probably not there's a lot of investment but that it's a miss um it's a misconception to think that all of this is complete charity and that there aren't ways to leverage this you can scale it up and it takes having the right people with you to do it and being rigorous about um your intentions and evaluation and using that to your advantage but um yeah it can be income generating too and bouncing off of what Marcy said about stories seeing things through a new lens one of our biggest takeaways which shouldn't have been a surprise but when the work is more welcoming it makes the work better it's not that's not a hard concept but it takes going through it I think for us to have fully realized it one of our small success stories is one of our fears going into the project was that we're an equity professional theater but the performance that we chose and the show that we chose is performed by a young company who are college students at our partner university and so I had just self-consciousness about can these are these students able to adapt in the moment or do they have the life experience and the professional experience to be able to handle an audience that might be um something they're not familiar with and to trust that our audience would be um taken care of and protected in our space and they they went so above and beyond what I could have imagined when Roger came to consult with us they were offering things that they could adjust or things thoughts that they had on their own performances we had a lot of live music so they instituted for that relaxed performance a little um intro session to all their musical instruments so that everyone felt comfortable with what they were about to hear and knew that that drum was going to make that sound and this guitar was going to make that sound and they loved it so much that they did it the rest of the run so there were 40 more performances where they were like this is a blast the kids are loving it we're going to make our work better by instituting what we just did to make the work more welcoming to everybody and those are the kinds of things I couldn't have anticipated but it does just make and everybody's on point like that it makes the work better and more welcoming for everyone yeah yeah and and and there is no one way to um to do the work um we have have created a um a sort of best practices and or model for how we or a basic model for these are the sorts of things that were that we have been doing at our theaters but um there was um one thing that that you mentioned actually like like ASL clapping as opposed to um normal clapping I haven't done that we I don't think we've done that I think that's absolutely wonderful so there are definitely lots of um ways that you can um go about um making adjustments the the it's really more about what the what questions you're asking and knowing and knowing what your goal is and keeping um and asking questions to to drive you towards that goal um so for example at Theater Horizon our um the our first Brex relax performance was a was within a show that was very different than um the other productions that that were happening that year um it was a devised children's show um that that um allowed the audience to travel throughout our theater space in many different environments um and so it wasn't a the the whole oh well we have to um um set seats on either side because there were no seats um and so um and there are sensory stimulus yes and the sensory stimulus for that particular show was intense because it was completely immersive as opposed to one where you're on you're very much actually separated from the stage so um even those are ours was very different um we still took many of the um the practices um that you generally see at a relaxed performance such as um an usher with a blue um glow stick that sits in the audience that alerts anyone to um anything that's coming up we still had our blue glow stick um but it was with an usher that was traveling along the um uh with the audience so um but it's again it's about the questions that you asked and if your goal is inclusion then looking at it from that standpoint as opposed to well these are the things that we need to check off so that we make it relaxed um it's it's it's it's a lot more about who what is the community that we're serving and what is the thing that we're trying to make accessible to them and how do we um how do we bridge that gap so we're happy to take some questions at this point we really wanted to pull it in we have two minutes for questions so wow your timing was so good yesterday that's a minute for certain sections for one minute and time yeah all right and we had it's on there two minutes for questions yes sir and also varying our definition of who needs a relaxed performance we a large part of our audience for our first year was actually young mothers who maybe had a five-year-old that it was a easier to bring a five-year-old to a performance but also had a one and a half year old or one year like an infant that they were scared of disrupting the rest of the audience so relaxed performance is essential for that young mom or we had a birthday party and we explained what a relaxed performance was and they said that sounds perfect for a birthday party and yeah yeah so it yeah it expands and and moves as as it needs to depending on the yeah yeah absolutely yes now we have we've got water bowls in our lobbies we have mats that we invite and you know having a special designated doggie business area get assigned and tell people where is it safe for your animal to go but i mean we it's you're you're not allowed to it's illegal to exclude anyone and you know on the basis of any kind of need but for service animals like our institution has been welcoming of service animals but it hasn't been an overt invitation right and so now it's like come on how do we let people know this is a celebration and it's not even part of it is for the individual who who has the service but it's also about general audience awareness and education right so putting the signage out making things visible so it's like oh right we all have a range of different needs how can we be more understanding and inclusive yes please and in terms of people coming um like supporters coming back uh another group that we've noticed is our ushers and that uh a fear that we had early on is like oh will we get enough volunteers for this will people want to do this it's the first one to fill up every year people say it's their favorite thing to usher it's their favorite volunteer opportunity at the theater and that goes across our staff too staff dive into volunteer like oh no when when is that can I even make sure it's like we we don't need all it's amazing to have all the bodies but we don't need all of the bodies that show up to do an actual job they stand there and have the smiling face and that's what we've learned is um feedback from audience members is the first thing what matters most to them is how they're welcomed into the space right so it is that smile and we have families walk in and just break down from the smiles like I to know that this was for me and that I well is amazing we've zero minutes left thank you so much but we're around but we're around and we're yeah thanks for being here well done well done take it short take it short take it short take it short


Item number SCP-346 Object Class Safe Special Containment Procedures SCP-346 is to be kept in a store-bought birdcage, at least 1 meter in height, at 1.5 meters in width either way. No locks or additional security measures are required, as SCP-346 is no stronger nor smarter than the average parakeet. SCP-346's cage is to contain at least 2 water dishes with standing perches, to be refilled daily, and fed a diet of 5-6 medium-sized live crickets daily. SCP-346's cage also contains one tree branch for perching, scratching, and climbing. One open-top nest, purchased at a commercial pet store, lined with moss, and a string with bright-colored bells on it for entertainment. The bottom of SCP-346's cage is covered with corn cob-based biodegradable bedding, and is to be cleaned out and replaced every other week. During cleaning, SCP-346 may be either held by hand, allowed to fly around a room with a closed door, or placed in a paper bag with a book over the end to be held out of the way. SCP-346's cage is held in Dr. Wright's office, and may not be moved without her permission. Despite SCP-346's habit of nibbling fingertips and pulling strands of hair, SCP-346 poses no danger upon escape, and may be recaptured, gently, with either a net or by hand. Description SCP-346 is a small member of an unidentified family of pterodactyl, ancient flying reptiles. SCP-346 is approximately the size of a small bat, and has very lightweight bone structure. Although its head, wings, and legs are bare, its main body is covered with a soft coat of fur-like dark-colored down. The origin of SCP-346 is unknown, and was purchased by Agent B and a small pet shop in Brazil, being marketed under the name Congo Motto. The owner of the pet store claims not to know where SCP-346 came from, having purchased a set of eggs off the black market, of which only one, SCP-346, hatched. Believing them to be from a rare species of parrot, some theories suggest that there may be a large colony of creatures similar to SCP-346 somewhere in South America. Testing has revealed that SCP-346 is an adult, but appears to have had its growth somewhat stunted by malnutrition and being raised in a small, cramped cage. SCP-346 is also a male, and has been nicknamed by staff who find the little creature's appearance charming, as Terry. SCP-346 behaves in a manner similar to birds and bats, being most active at dawn and dusk, and energetically flying in whatever space it's given, snapping up insects either out of the air or off the ground in branches. SCP-346 chirps and squeaks in a manner similar to birds and rodents, and is most vocal during the evening hours. Some describe this as endearing, others as annoying. Addendum 1 After the discovery of SCP-1265, some theories suggest that there may be a large colony of creatures similar to SCP-346 somewhere in South America. However, the existence of SCP-346 implies that these alleged colonies, should they exist, do not possess the same anomalous properties as SCP-1265. Addendum 2 It has been suggested that further investigation into the origins of SCP-346 should be taken, in the hopes of finding a large colony of similar creatures, perhaps indicative of a surviving member of the pterodactyl lineage, or a rip in space and time. SCP-346 should be kept well away from SCP-529, as per request of Dr. Wright's. Lesson Complete If you missed the previous orientation, go watch SCP-345, Stone Puzzle Cube, right now, or for the complete course, watch this playlist.


Thanks for checking out this unboxing video. This is for the June BAM box horror box, which is the only BAM box I'm getting nowadays that because I stopped the pop culture, but I did substitute it with Fright Crate, so check out I did one unboxing of Fright Crate I should be getting my June one pretty soon, and then I already purchased July so I'm gonna try and keep going with that But in the meantime, let's do the June sorry, I'm getting a lost on this the June BAM box horror box I don't remember any of the properties on this as you can see I'm just fresh out of the gym because I went to the gym I came home and when I came home this box was on my front doorstep So I was like as I usually do pretty much as soon as I get it doing that unboxing Got to get it out there for people Real quick if you like any of the videos I do or if you appreciate this unboxing in particular Hit that subscribe really helps me out long term also spread the word about this If you know other people who like horror stuff because I do horror movie reviews on this channel And that's my bread and butter as in that's what I like the most what gets the most views is obviously the unboxings But the horror movie reviews are a lot of fun Anyway, let's get in this like I said I don't remember the properties there hasn't been a whole lot of hype from the BAM box folks about their boxes So that's made me kind of like oh, but then again, there wasn't any hype for the last one for the May box And I quite liked it. I thought it was very strong So doesn't necessarily mean anything my cat's over there on her cat tree So just so you know She may start yelling because she's not getting attention, but I got this for She didn't even look at it. There's only one though. Usually I get more than one so a little Little disappointed BAM. You could send me more tissue paper for my cat, please. I think I know what is this What is this so here's a prop, you know, I'm not big on props if you've watched enough of my unboxings I really like the prop replicas so much, but they're usually quality when they're done and this is this actually feels like heavy Metal, I don't know what that is. I Mean it's it's blue and it's like a spade on the key Is this like the skeleton key movie or something which I did see in the theater a long time ago I did not care for that movie. I thought it was terrible I guess we'll have to figure out what it is, but I mean it looks good. It looks good And like I said, it's kind of heavy because it's metal, but I don't know what it's from All right, let's do the pin my favorite thing in the boxes typically This is by Ali cat graphics and it is return of the living dead 3 which I'm gonna really disappoint people right now. I have not seen return of living dead 3 I've only seen the first return of living dead I know as soon as I just said that a lot of people are probably watching this and going oh my god This guy claims to be a horror fan and he's only seen the first return of the living dead. I know I'm gonna remedy that I'm gonna take care of it. There's just so many movies I need to get to my biggest problem is when I was young my parents were super controlling. I Could not watch horror movies. I even get into horror movies until I was even out of college. So I've been trying to catch up since takes time peeps Yeah, well, I recognize I've seen this character before so I recognize this character as return of the living dead 3 Yeah, it's like this punk zombie chick with like metal spikes sticking out of her. I've seen her before In conjunction with the title return of living dead 3 so that's cool. I like the look of it It's nice. They don't you know, they really don't do a whole lot of like rounded pins So it's kind of cool to like get different shapes here and there So the fact that this one is rounded when they usually don't do that is a nice difference And I actually really like the touch of the fact that it's rounded, but the spikes are hanging over That's a cool touch. I like that a lot. This is cool. This is nice pen. I like that pen. I Dig it alley cat graphics. Good job. Plus you have cat in your name Can't go wrong All right, so here's the art print part of their fan art collection. I always says that by the way It is by artist Kim Martin and it is called shut the gates. I have no idea what this is I have no idea what this is This looks like it's a graphic or something. I Don't I don't know if this is actual like art art or if it's like computer graphics art It's like a woman crying blood and it's just like kind of blurry Got to be honest, I don't like this style. I really don't like this style of art I got number 692 out of 2000 This reminds me a bit of some of the other stuff they've done kind of recently where it's a Piers to me for the art prints. They've been going a little more towards the graphic art the computer graphics art stuff instead of actual like Drawn art and I'm not digging that if that continues you if that continues I'm gonna have to reconsider things with this box to be honest because like I say I'm in it for the pin And I'm in it for the art prints autographs or pluses if the props are good. That's a plus, but Just I don't know. I just don't really dig that I'll have to see what it's from but I mean No, no, no fan. Sorry Then the autograph here we have it Signed by Oliver Robbins who played Robbie in poltergeist This must be in the remake poltergeist No, can't yeah, yeah, maybe I don't know I saw poltergeist actually the original poltergeist Is this from the original? I can't tell because it looked like the Qua now it must be the original guy because yeah, because look at him here Sorry the glare see that dude. Yeah, it's probably from the original Um, I saw the original when I was young.  I was like no older than eight years old and let me tell you I could not sleep. I could not sleep. That was that was actually the first horror movie. I had ever seen Um, yeah, I'm sure people are now just like geez for the first horror movie you've ever seen being poltergeist That thing is scary now like in my adult years. It's frigging scary and wow. Yeah, no, but this is a cool. Um That's cool autograph. I'm done with that auto That's cool, man. I dig it and that's it Um Not huge on it, but the pin is great. The autograph is pretty cool. So it's all right Um, okay. So Oliver Robbins signed eight by ten photos.    We're excited to have Oliver Robin Robbins Robbie in this month's box Yeah, so he is from the original. That's sweet. That that's actually yeah It's cool, man It is cool. Those are all the different variants you could have ended up with I like most the one that's out of 99 where you see the clown in the background. That is sweet. That's cool Yeah, no, that's a good autograph. Like I like autographs like that. Like yes, he played the kid. So he's not like a big Um actor from that film But that's not the stuff you're gonna end up getting in these boxes and people just need to understand that So in my opinion, that's a decent autograph He's the type of person who would end up showing up at horror conventions And he would probably be charging like 40 dollars for his autograph. So the fact that You would have to spend more on justice autograph than you spend on this box It's a good deal. I to be honest it is so if you're in in it for the just the autographs with these It's worth it just for the autographs because to be honest that at horror conventions There aren't that many people who show up and charge less than 40 dollars nowadays It used to not be like that. I remember going to horror conventions back and like I don't know like 2009 2010 and everyone was just charging 20 bucks And maybe a person here or there would charge like 30 or 40 I think I paid 40 for george georgera remiro way back then Uh, but pretty much everyone was doing 20, but now it's like 40 minimum except sid hag Sid hag has never changed his price and he won't for the fans. It's always 20 bucks. Classy guy Um, so the signed fan art print kim martin makes her debut in the horror box this month With one of the best scenes from city of the living dead. Okay Not I've not seen city of the living dead So there's a different version she could get like I said Just not a fan like it's it's it's not my thing. It's not my thing Uh, then the pins Atley cat graphics makes their debut in the box with pins from return living dead three So these other two Pins like they're not familiar to me since I haven't seen the movie But they look good. I mean they look better than good to be honest. They look really good I like them. I like them a lot And then those the key is from resident evil two Okay, so I have seen resident evil two, but it's been a long time. I've only seen the first two I think Yeah, I think I only saw the first two But I do plan to go and you know do a watch through of all of them Potentially in october because I do 31 horror movies throughout the month Um, so yeah, so those keys are from it dark matter props brings us the raccoon city police station keys this month. Okay raccoon city keys. I don't know Or maybe that's from the game. I don't know either I have played that game, but also it's been a long time Uh, and then the special giveaway you could have won a halloween michael meyers mask signed by tony moran Pretty cool. They're they're like one item giveaways like this like this. They're sweepstakes. They kind of do Always always really cool items. So whoever ends up getting them Lucky person. Yep, and that's it. Uh, one thing I want to comment on though They've been saying that they're actually going to get like a design for these boxes because they had it some time ago And then they went to just the nothing actually for a while It was just like brown boxes and then they switched to white But uh, they've been saying for quite a while now that they're gonna have a new design and it's just not happening So i'm just kind of like What's going on? I mean, I would think that they would want to get on that a little bit faster Not because like I care that it's branded or not because I really don't I just send them recycling the box But I would think that like they want people to see that like when it's sitting on someone's doorstep That it says like bam or like bambox because then people would see it and be like, oh, what's that? You know Drive some more interest, but you know whatever Um, the important thing is what's in the box and for this month Yeah Really dig the pin and the autographs cool the autograph definitely So like usual it's it's worth the money the fact that I like the autograph and I really like the pen It's worth it. It's definitely worth the money um Replica, I mean, I'm sure there are people who would like the prop replica because it looks good. It's well made all that jazz I'm just really hoping this is not the direction They're gonna keep going with these art prints just because for me personally I'm sure there are people out there who got this and are excited about that and that's great. That's great um, and I can't you know do stuff like this so someone's talented, but um I it's just not my thing It's it this seems more like a computer graphics type thing and that's not not what I'm personally looking to collect That's not what I want. I want like hand-done stuff. That's what appeals to me most But I just hope that that's not the way they're trying to go It just reminds me of the the art print A few months ago for the new pet cemetery movie that was definitely all computer graphics stuff And I just did not like that one But anyway, thank you, um everyone for checking out this unboxing Like I said, please hit the subscribe for me really can help out a lot. Let's talk in the comments I know people are more than willing to talk about these boxes. They're feelings on the items in there Um, but yeah, give me your opinion. Did you like the stuff? Did you not like the stuff criticisms praises? Did you get the box? What did you get? I always like hearing when people are like, oh, I got that a 99 and it's amazing and Yeah, that's stuff's fun So uh put some comments down there if you want to do a like you can do a like It doesn't matter that much, but the subscribe does Thank you so much until next time. Keep it brutal


Hello everybody, I am Mr. Keshav Valase from Mechanical Engineering Department, Valchian Institute of Technology, Solapur. In this video, we will be discussing about EOQ that is Economic Order Quantity, its simple model and what things are required for the derivation of the formulae. At the end of this session, students are expected to understand basic inventory related costs and economic order quantity and the minimum inventory cost related basics. Referring the same slide from earlier video wherein we discussed about why we need to maintain inventory or why we need to have inventory control. If we look to this graph here as the quantity increases on vertical axis we have inventory related cost and horizontal axis we have inventory quantity as the quantity increases this holding cost increases the straight line indicates holding cost or inventory carrying cost. End element of a cost this one is a setup cost or ordering cost as quantity increases this setup cost or ordering cost decreases. Now adding these two we get total cost. If you look to this total cost we are basically interested in this particular Lormust point wherein to the left of this cost increases as well as to the right of it cost increases. Hence to balance between holding cost and setup cost we need to maintain inventory or we need to have inventory control. To talk about different types of costs related to the estimation of EOQ that is though there are many types of costs we are talking about three cost elements which are required to derive the formula for economic order quantity. The first one here is holding cost or also called as carrying cost inventory carrying cost. This includes all the cost elements towards holding the inventory item in the stock. All of your expenditures or expenses towards stores, stores record maintaining inventory items salary of your watchman towards store your warehouse all such elements of cost are added together to get this holding cost. Now the unit for the holding cost is say suppose example here we mentioned C1 as the symbol for holding cost then unit of holding cost is rupees per unit item per unit time. This is specified for single item of inventory and for a unit time. Different industries express their holding cost proportions on annual consumption and holding basis and then coming back to second cost that is a shortage cost which is also called as stockout cost. This is related to a situation of having a demand but not having the item for consumption or utilization symbol for this is C2 and it includes all the elements towards not fulfilling the demand so wherever we have a demand but we cannot fulfill more or we have expenditure towards that. These cost elements will be included in this shortage cost. Its unit is again same as C1 rupees per unit item per unit time. Third cost element is ordering cost or setup cost. Normally while we have ordering type business that is if we purchase items from outside what we call as bought items like bearings and castings such things. Now for such bought out items normally we refer it as ordering cost and in case of manufacturing setups associated cost towards keeping machine setup ready we call them as setup cost. So for example in case of ordering the main element would be transportation cost and all expenditures towards giving purchase order, release of aid, reminders to your suppliers and whatever we have expenses they will be the part of this ordering cost element. Similarly in case of manufacturing to keep a machine ready for required manufacturing process that is for example suppose if we take CNC machines. In CNC machines we need to keep tooling ready for actual operation required so time spent on such toolings to be kept ready for machining would be a part of setup cost and such all items towards keeping things ready for machining they all included in setup cost. In all we use for this is say C3 and it is specified as rupees per order or per setup. Now here I would like you all to think up some industry and list down different cost items from that industry and possibly group them under these three types of costs. Then to next this graph gives you on vertical axis it is inventory cost and on horizontal axis we have inventory quantity we have discussed this earlier this line indicates holding cost this one ordering or setup cost both added together this curvature gives you total cost what we are adding here is this low most point we are interested in this particular low most point of the total cost curve. This point on horizontal axis if we project what are the quantity we get that quantity is economic order quantity and corresponding ordinate on this vertical axis represents minimum cost so from total cost curve even we can take a judgment here this point represents the minimum quantity the lowest quantity which is referred as economic order quantity in total cost curve and this particular point on the vertical axis represents the associated minimum inventory related cost. Now coming to a simple model of your Q a model in inventory comes up with certain set of assumptions now here a model we represent wherein on vertical axis we have got inventory quantity and on horizontal axis we have time. Suppose we operate with one particular cycle represented by this particular triangle from origin to this Q and down to T. Now this Q is our inventory quantity for this particular cycle and this T we refer as cycle time say for example if we take this quantity to be say 300 units and this time minute if we take one month of 30 days then this 300 quantity we are consuming over a period of 30 days wherein 300 by 30 that is Q divided by T is equal to R so this R the slanted line indicates our consumption rate which will be in this particular case if suppose Q we take 300 T we take 30 then R will indicate 10 units every day we are consuming. Now like this in a year we have suppose N cycle so N represents number of cycles like this one simple triangle like this N cycles in a year so for example if we have one month as a time period then in a year we can have 12 cycles so N will be 12. For this model we have different assumptions and as I said these assumptions will give us this particular model so R that is consumption rate is uniform there is a first assumption second one no shortages allowed that is from previous slide we have defined C2 as a shortage cost so C2 we assume to be 0. Next assumption is lead time is 0 or known exactly. Now lead time is the time between placing the order and getting the material lead time can be thought in different perspectives but here for our simplicity let us take that time between placing the order and getting the material and that is either known exactly or it is 0 and one more assumption we have here is we assume instantaneous replenishment that is at the end of this particular first cycle suppose while we reach to 0 the quantity reaches to 0 then for next cycle to begin we assume that this Q raises to Q this height the quantity in our hand will be raised to this particular level of a small Q so that is what is the assumption we call as instantaneous replenishment. Now further part of derivation we will talk in next video here I mentioned only two references of the books but we can have many more references for inventory control topic and EOQ derivation thank you.


Hey guys, Willis the Gaming here today. We're gonna be playing oof in Roblox. Alright, so let's begin with this game. Hey, who is that? Kill dude, what's up man? Oh yeah, look, he slipped on it. Wait. Oh, look, there you go. He slipped it on the banana peel. Choppa! We got to the chopper, man. Let's go! Oh! What? Great, of course we're gonna oof. Oh yeah, we have all these oof sounds right here. This is the reverse oof. Ow, that was loud. Higher pitched, low pitched, lower pitched. What? That has a lot of bass here. Why is there a rap here? It's like a bridge. I support this dude. What's up, I think that's Timeless. Oh, we got Kill Dude and I, F, Up, E, Daffy with this. And Timeless, Flash Rage Ken, and... Ben plays Roblox. Okay, so let's begin. Where do we go? Go check out down there, man. I'm gonna roll down here, man. I also have this oof gun. Oh my god, it's a gun that just shoots oof. Okay, PSA, remember? To never click on anything, it's claiming they give Roblox. It does cancer. Exactly, guys. Okay, so let's go check out up here. What is this? We just jump in there? Yeet! Bruh. So I guess the whole point of this game is just like the...  Oh, we got a badge. Oh, we got ten deaths, so we got a badge for that. Well, that is awesome, right? What's up, rare realistic gamers? Oh my god. Okay, so... Oh, what do we do here?  Oh yeah, say hi, sweeter. There you go, buddy. We couldn't see him because of the giant oof head earlier. Just jump... Boy! What? Look at my... My body is like... That was weird. Weird real. A certain new town founder. Shout out to certain new... Found... Founding this town. Okay, I do have the VIP, but I mean it's just a waste. I mean it's only 25 for a box, but... There's really nothing in there. Let's go check out this side. What? Okay, it's the opposite. There you go. Hey, we need one gear. Oh, no. We timed this walk in that fire. Hey, what's up, man? It's over here, man. Let's check this out. Oh, God, there's a giant fan. There goes nothing, guys. Oh! Dude, that was gory. I see some carts over here, Lou. We should go try those out. Let's see how they... I'm pretty sure they're gonna be crazy. I have thought anyone who can please distract 10 out of 10 would drive off road again. What? Well, no, there's only one car. I'm gonna beat them up. Oh, no. You can spawn on them right there. Oh! Why didn't they make the oof sound? No. What? Oh, he respawned the cars. All right. Whatever, man. Let's go. Oh, God. That dude fell out. Dude, this thing is hard to draw. No, no. You said anyone. Too anyone. You plant anyone that beats it. Oh, God. Okay, I think we got it. There you go. No! Bruh. We just fell out. We fell out the cart. Hey, what's up, man? Some nice shoes you got there, bro. Okay, let's go check out the rest over here. Uh-oh. Good mom, man. There's a dinosaur right there. My God, I thought dinosaurs were extinct. What is this, a sword? What? I'm tired. See ya, man. All right. What? I couldn't move. All right, let's go check out this side. I think this side's in your stuff. Because they did update it. Helicopter oof. How's that a helicopter oof? Did you sound like it? What was that? Jesus, that was so loud. Okay, what is this? Oh, this is open. No, wait. It's a trap. It's a trap. I know it is. Rest in peace to timeless, man. Oh, that is timeless. That was right. Well, let's go on the trampoline. I want to go jump. Oh, dude. This thing sent this flying. Look how high it sent this flying. What? Tweeter was barely catching up to us. Poor Tweeter, man. Okay, let's go check out. No. Excuse me, man. I think it's confusing. Because it pushes you back and then forward. But let's make the sky slim. Oh, my God. There's snakes on the floor. What does that say over here? VIP free admin. Oh, I want to get shot. Does it actually shoot you? Geronimo! It does actually shoot you. Oh, Lord. No. Ow. Hey, Rio. It's me, Stryfer. Hey. Oh, that's Stryfer. Hey, man. What is this? Oh, I know. Stryfer. Stryfer the goat. Okay, let's go check out. There's a lot of stuff we still have to check out, man. It says t-shirts. There's t-shirts over here. Photos with a noob. Because why not? What? This is for us to take a picture here. T-shirts of wonder. How does it work? Oh, you have to buy them. Man, I thought it would, like, morph you. Hey, what's up, Ben? Oh, my God. There's a noob right here. Oh, he has dialogue. Let's click it. No. There you go. Preheat the oven to 350 degrees Fahrenheit. What? What does that mean? What does that even mean? What is this? I'm trying to tell this, guys. I don't know what that means, man. But let's go check out the rest over here. Oh, my God. This is a giant slide. Let's go jump on that. Nothing looks crazy. Oh, that thing looks insane. Let's go on this. This is going to be fun. No. What? Oh, my God. Dude, this is spinning so quick. Oh. Ben, how do you get out of this? Oh, OK. We got launched to the safe zone. Jump. Oh, where'd it go? That thing launched him up. Oh, my God. Rest in peace to Ben, please. Oh, no. There he is. What? I didn't see him.  You want some cake, Ben? Take some cake. Take a slice, buddy. All right. I was about to say, is it an oven? What is this? It looks like this thing is supposed to be spinning. Oh, man. Oh, there you go. I got it going. Yeah, it looked like it's supposed to be spinning crazy, and then you dodge it or something. I don't float, but this game is crazy. Hey, what I did was floating. Oh, my God. What is that back there? It looked like a shark. Oh, there's an oof. What is that? Is that like a store? Let's go check it out. I want to go check out the store. Let's go buy some oof merch. Oof gallery. There you go. Hey, we're going into the oof gallery. The oof gallery. Oh, my God. I just simultaneously whipped the nae nae. Oh, my God. And that's how he stretched his body out. That's how you don't do the nae nae. Welcome to the oof gallery. Take a look around. All right, man. So I'm guessing this is just like fan art. Featured. Celecio. Celecio. I don't know how to pronounce that. These are pretty cool oof drawings. So noobs. Hey, noob. I love noobs. They're so funny. That's awesome, man. He even put their names under it. That's pretty cool. That was very thoughtful. Oh, man. That's a pretty thing. Let's make this girl slip. Oh, man. Let's make time to slip. No. Oh, man. Oh, my God. Is that a giant penguin? Oh, that's the guy we saw back there. How do we get back there? Wait. He's going to say hi to that chicken. No. What did he say? Sorry, bros. I'm out of memes to hand out. Is that the creator? I think that was the creator. I like his shoes. They look so like blocky looking. Oh, my God. Why are you taking this? I support bigger head. Oh, yeah. I also have the boom box. Where's the boom box? Oh, like a oof spinner. It's supposed to be a feature spinner, but it's an oof spinner. Whatever that's supposed to mean. Let's play the jam. Hey. Hey. I'm going to go down this slide. Jammer! Okay. We just throw this out to nowhere. Higher pitch muffled. Oh, my God. Is that Tiffany Mayumi? I think that is Tiffany Mayumi. What are you doing here, you evil girl? My God. She's going to ruin the oof. Okay. Let's go check out. I think I saw like another gallery or a store back there. Where is it at? Like it's back there. Stop. We're back there. Maybe they have other stuff. He keeps dodging me, man. This guy is so quick. He's trying to make him slip on the banana peel. I'm shooting him with my oof gun. Oh, diamond block. Here, this is a bully. Hey, Baldi. Hey, playtime. Hey. What is his name? Crafters. Arts and Crafters. We're directly in Baldi award. What was that noise? It sounded weird. Okay. Let's see. I want to go all the way to the end to the water slide. Oh, gee. What's up, man? Yeah. What's up, dude? No. Oh, my God. I'm almost locked off. We all have a spray gun, but... Oh, there you go. It's actually... It actually works now. There you go. We can put the oof head anywhere. What? I got it in midair. What is this? Ride a boat? I might as well literally die. Well, that sounds like fun, but here goes nothing. Drop the weight. No. There you go. Oh, he got a doge one. What? Look at his boat. He has doges all over it. That's so funny. Ready? Ready to go yet, man? Oh, my God. Oh, man. It would have been cool if we just kept going and then it threw us off. That was pretty cool, too. Oh, my God. Did you guys see that? I don't think we finished that side. Okay, it's the opposite side. It threw a banana field. Oh, it landed on the other side. It went on the other side, man. Oh, I got somebody with it. Yes, I got him. Got him. Okay. Oh, my God. There's guests and noobs in here. Are you supposed to fight these dudes? Okay. What about this wheel? Man, I thought it was going to spin us. That would have been funny. Hey, we're getting a lot of badges, though. It's pretty neat, so we can add to our collection of badges. Okay, let's go check out some more people. All you get is an oof head in here and a walk speed. That's it. I mean, it's only 25 road bikes. It's not that bad. I am the oofer of oofers. Okay. Okay, where do we go? Nope. I think we already did most of the stuff over there. Let's go over here and check out the last of the stuff we didn't get. Because there was a couple things we didn't go through. Okay, with that giant weight. I want to see if there's anything crazy. Oh, it's a ball pit. What? Why is there a laser coming from the... Okay, there's somebody in there with the sniper. That is not cool, man. Table of disappointment. Ooh, the mic cap lock. Ooh, bad day. Oh, I guess that's it, man. Well, one last thing to go in here. Bruh, it was a freezer. Say bye, guys. All right, you guys. Say bye, Twitter. There you go, man. Well, thank you guys for watching. Thank you guys for the amazing support. And I will see you guys next time. Oh, my God, timeless is there. There you go. Oh, you can't see the dialogue. All right, there you go. Bye, YouTube. All right, you guys. Bye.


Thanks. My name is Felipe. This experiment was made only in economic students or other types of students. So I was wondering if you can tell us a little more about your contribution to the literature because at first I think you mentioned briefly that You have a different setting. It's the first one in the developing context So I was wondering how how are your results different from being in a context where you would expect People to have different preference about inequality. How do they fit in the literature? Yeah so Just replicate so this this state this is called the stakeholder the spectator design this experiment which was invented by the Norwegians and And Bertil to go then and others So just replicating the Design that was shown to produce certain results in from Norway in South Africa We think it's already a contribution because there is no reason to assume that South Africans have the same No, no, so let me conclude so the The design is the same, but they don't vary the same things They have the spectator person, which is the third party thing, but they don't change inequality They just they measure other things that they have many papers So their contribution was to show on how to estimate I didn't show this because this is a 20 minutes presentation There is a model in which essentially you're trading off fairness concern with personal utility So in our experiment the personal utility comes from the cost and the furnace is when you you know You want to split so their contribution? I think it's an AR paper actually in early 2000s The contributions listen I can estimate your individual level trade-off between fairness and personal utility and so they change they do essentially the same experiment But changing other Variables so we use the experiments or contribution one use a similar design in a developing country Contribution to varying other parameters within the same context of fairness versus personal utility So we vary the distance in the payment split Which they they don't and we vary the personal cost directly usually cost is studied as a deadweight loss in a sort of You know welfare type of thing we instead introduce it is personal loss because again We were operating in a situation in which there was a large fraction of the population very worried about losing Directly from redistribution But it's a do you know if this result that I was really interested in that the the concern of all the sources of inequality Decreases when inequality I mean increases no so the high level of inequality Basically, you don't care if that inequality is coming from one source or the other Is it a common? I mean I haven't seen it before I know it as a principle As a normative principle in the theoretical literature in the philosophical literature, but I haven't seen it in a experiment I don't do you know if they have some other evidence is just first Because I have a theoretical paper in which I propose that yes as a normative as a normative principle so as measuring Or I should quote you as a justification No, I'm just curious if there are some evidence by the Norwegian guys about these things not on this. Okay. Thank you So we don't find differences in In the redistribute with the the main variable why in their propensity to redistribute by race Meaning that the results are the same across groups whether the Yeah, well yes and no meaning that They don't know the race of the other players right they they have some priors of what those other two guys look like right? So imagine you were doing the experiment here, and you're told there is two Losander students in another room. They just finished the task Then whatever your prior or what those two students look like that's what you're gonna do, right? This is the phone telling me them. I'm down right Okay, but yeah, so we don't we don't have heterogeneity Thank you so much. I Have many comments and many questions, but I'll just stick to one to let the other speak so Your identification strategies in the spirit of bleemer So you compare your control are the ones that are not targeted by the policy And then you have a strong assumption behind which is that there are no effects on the control group, right? and I was wondering if you can check that in any way if you did any because I Think there might be a fact on these control groups, right? And then I think one way the way bleemer does it so you always interpret the results in terms of gaps So like by it reduces the gap in graduation or the gap in the labor market But it does not mean that there are no effects in the control group But I don't know and I think it would be easier to understand your findings If I think the group to focus is the group that that enters because of the quota, right? I also The public school students that entered before and then they keep like the top ones. They are still there I I mean I think that the right way to write this paper is very splitting the two the two groups of public school students the ones that Are not affected. I mean you still might expect some effect on them as you would expect an effect on the controls but the real group that is Entering because of the quotas. That's why I think you only find effects on those groups and that's I think that's what I would expect Yeah, and maybe if you have time can you clarify your last result because on the wages and on Because I think I saw something different. So starting from the Students who only entered before because of the quota policy seem to run smaller wages than those who would have entered Even without the policy because it's Patricia's question when the private school students, yeah, but but Then let me see Okay, so I have I have no Effects for the public school students because I'm comparing them To the public to to the public school students before the quota policy I Have the control group which is the the the private schools But they are constant on time Right, they're there unless in relation to the quota the non quota students and two quota students who only entered because the would have entered Even without the policy because I find no effect for them Right, the red is the quota students who would have entered Ufba even without the policy I can write the equation down for our fault. Okay. Okay. Okay Okay, sure and then when I You said that maybe the the private school students are like changing their behavior so We have some descriptive analysis that we do an unconditional different diff on students characteristics and we find no difference for the Non quota students before and after the quota only the only thing we find is on Wages like wages parents income according to minimum wage in minimum wage Intervals but then in this period in Brazil, we have a huge increase in real minimum wage So we see a decrease in the in the interval. So I think Yeah Okay, I mean So you think I wouldn't sell us as that yeah, it's a differential impact and not okay. Okay. Okay. Sure and basically with This group is basically a placebo right because if we did find evidence of Impacts for this group. Maybe we also would have impact for the non quota group So it's it works as kind of a placebo But I agree with you that we should expect that all of the of the effects that we find would be in the Group that only entered a higher higher education because of the policy And it's what we find in the paper Have three more minutes of questions. I have one them so that they the quarter actually I mean Public school is students with the quarter Have lower wages and also stay longer in college because they have to repeat. No, they had to retake the Okay, okay, but how about the wages because I didn't understand so the wages yes Okay Excompatients and the other group okay Yes, no el hecho de tener el apreciación de todos no haría los resultados más robustos muchas gracias The question is about what you showed in this is light only two groups and not all of them And these are the results of significance a significant Transfers or relocation in this transfer for trust and the dictator came and also relocation for the reference institution game for these groups Robots to the robustness checks, but in general those who were not significant were positive and what we but So as I didn't explain the game But this is what we have When it was locked we have this the the participant the observer have to make seven decisions it was poor poor when they it was internally displaced versus poor and that's a well I say no is because They in order to avoid confounding effects Here the participant it was any citizen from the sample and had two characteristics that were fixed So it was the this this player to was low socioeconomic status Low level of education and these was what the characteristics that we were changing so we didn't Enhance what we wanted to see right That's the So that's why we have these pairs And what I showed are those who were significantly with a sizable effect any So You had 900 people They watch a video. Where are they? And then they do some games right after watching the video and Then you link to the World Valley Survey. So that's I don't know how you do that by the way And then so I get let's just stay on the games where they are how long after and so on These are the procedures. He was an okay pandemic So we couldn't do fieldwork like In person so we managed to have access to the World Valley Survey panel in Colombia and from there we sampled 900 people and These participants took the make the so the video online They entered they were paid if they were there all the time and answer everything So we guarantee that they saw the video then answer the questions play the games and one week later They received their payment They were very sure see that actually and after that once they receive we got their decisions We also we matched them with the decisions of the ex-combatants and the migrants who actually who played who were there? And they received their pain their payment too so it was a synchronous Matching when we were Implement a conducting the experiment That's one of the advances that I didn't I actually didn't mention but then The Santiago who is the cognitive scientist is so happy because he worked so hard in order to get these in Tablets, I mean the same idea and feasible for the finger movement tracking Tablet mobile computer any it was the same and it was used Their own Yes, no. Oh, well, yes. Yes But they are belong already to the panel so they have they know already how it works We were assured that they never participated before in unexplained and I started relating migrants but any Okay Well, I think that that's They knew they had to do it in the same straight Do you have any heterogeneity by How many people like how many bike migrants are in my neighborhood or how many it is to see if like that Yeah exposure to them like makes you No, we have a regional this these are these are representatives on political regional level We have their city when they were born and we also have where they live but and we have where they took the What where was the place I mean the Coordinates of where they were but we cannot relate. I mean it will be we will need to Struct better to see if we can relate that in terms of exposure But we did ask them if they were in contact or if they had an experience direct experience with Actually with an ex-combatant or with a migrant And Well, we control for that but no actually actually no and there were very few and is understandable I mean it was direct contact So there is whatever the participant interprets in terms of direct contact and still the the video as it is structured is with people that were in very close contact with the In group with the out group member that means that For the participant receiving information in the video about Another Colombian that actually that did have direct contact will will have informed somehow The participant about the closeness or the ability to integrate for of the of the in group member Yes, sorry. Oh, yes Sure, we're happy to do that This is the panel there This is the the whole sample of the tools that we used The these are the the humanization Plot on the humanization and the feeling thermometer is what I was saying is the closest to what we call emotions in economics Meta the humanization is first-order reliefs in terms of the humanization is like The humanization is thinking is on the participant and I say In which category I see I consider where I perceive the out group member and These very aggressive image is actually very well is very well validated all over the world with many many intergroup conflicts And it was one of the main points in our video Also, what we have is a direct empathy. No, it's not sorry my ability was also key for the video and willingness to be to integrate and the ability to integrate so what we have here is the measures that we use in this in the Survey postgame survey to see if actually this did happen. It was an improvement of that and we found it and What we've flattened the humanization is our district for characteristics a degree is a like her scale of the degree of How I perceive the other? The feeling thermometer is a measure of warmth a Meta these meta perceptions are related to the perceptions that The other things about me Collective blame is how the odd group member feels Guilt about what it has done for migrants is or the situation for the migrants was not the case But it is very important for ex-combatants to have information about that Direct empathy is the family-related situations or Very direct contact if I if the person the participant considers a threat when interacts with a Out-group member These are unhypothetical situation of hiring Which is for some psychologists a behavioral measure, but I already convinced my colleagues that no My ability as I just described it already and an exposure to violence Very expensive, but extents Yes Yes Well here there the exchange rate help a lot. Oh, no, this is yes. Well, this is part of a we use it as a control too But it know this is a actually a survey measure in terms of a no perceptions or psychological attitudes but If I have been exposed for example to in Colombia ex-combatants to know how it works the dynamics between the my relationship with his combatants Is a if I be not a big team of conflict of is someone in my family has been a direct big team of conflict Thank you Well about us all we have questions about exposure to violence in general because when you are exposed to violence You trust less in general So you it's a mechanism for self-protection that you don't trust anyone So it's very important to know if you have been you have suffered or not in order to trust Thank you


Hey guys, Drew with GeoWarm, and I'm back here to talk to you about the brand new 2GIG EDGE keypad. This is not the actual panel, but this is the keypad itself that you would use as an extra touchscreen device, not the main panel itself. So what we're going to be doing is we're going to show you how to wire this 2GIG EDGE keypad. It's super easy to do. As you can see, this thing is almost identical to the actual 2GIG EDGE itself, so you'll notice immediately that there is a screw at the very bottom of this, just like on the 2GIG EDGE itself. I've already gone ahead and backed that screw out. You will need either a Phillips head or a very small flat head to do this, but once you've done that, and that screw is backed out, it doesn't come out all the way. It only comes out a little bit, as you can see here. And then you're going to go ahead and pop the back plate off, which is very easy to do. You can see there. It comes off super easy. So I'm going to do it one more time here. Just get your fingers in there and pop it out. So immediately when we open this up, you will see the connections for the battery here, which is going to be running to there. And the wiring for the power supply. You will need a strip of 18, 20, or 22 gauge 2 conductor wire. This is to get the power supply wired in. What I have done is I've already pre-wired this, so we already have our connections made here for the power supply itself. So you'll see the red connection, which I've run to the positive side. This is a DC power supply, so polarity does matter. So I have red to positive and black to negative. So red plus, black minus, and it is labeled on the actual power supply itself. Now I'll put this over to the side. We're going to take the other end of the wire, which as you can see I've already stripped it back, which you need to do on the other side as well before putting them under the screws and tightening it down. But now we have our other two ends here, and we're going to go ahead and feed it through the back plate so that way we can get it mounted back to the actual device itself. And we are going to take the red wire. The red wire is going to go in the top terminal. Get that in there, and then you're going to go ahead and tighten it until it's locked in place, like so. And then you're going to take the black wire, and the black wire is going to go right next to it, and you're going to tighten that down as well. So looking at it from this angle here, you're going to see red goes to 12V, which is the top terminal here, red to 12V, and black to GND, which is right below it. At that point, this thing is ready for power, so you're going to get your battery plugged in, and then you're going to get your back plate put back in place, and press down. You've got to be a little firm with it to get it done. At this point, you would also go ahead and put your screw in place. I'm going to go ahead and apply the power here, and it looks like we are getting some power here for the 2GIG. So as you can see, the wire I fed out the back here, so it's got a good solid connection. The battery is plugged in.  And at this point, you can see we do have power to this device, and it's ready to rock. Make sure to subscribe to our YouTube page and click the Show More tab underneath the video, where you can view valuable links pertaining to this product, similar how-to videos, and our low-cost, no-contract alarm monitoring services.


GMOs are genetically modified organisms, and they can be created in a variety of different ways. They can be either cross-bred through hybridization, or they can be created through bioengineering. The number one misconception is people think that GMOs are unsafe for human consumption and the environment. What's interesting about bioengineered organisms is that we are creating new organisms with traits that come from other organisms. We don't create new traits. We don't create new DNA. Same thing with cross-breeding. Bioengineering is taking two different plants or two different parents, and then picking those particular traits that are useful, and then combining them into the offspring. GMOs, and also bioengineering, as a result of years of research that are conducted at our land-grant institutions across the nation, at Auburn, at Alabama A&M, and across the state. And this is a culmination of years of work. And they look at things that will help the farmer, but also help our environment as a whole. We have 12 greenhouses here, and we have our hands in a little bit of everything ag-related from forestry, turf grass, agronomy and soils. Research for us has kind of boomed, which is good for you and I, and that's really where we feel like we kind of fit in the middle a little bit. GMOs provide just one gamut for the farmer, and the main thing that GMOs do is remove their amount of input that they have to do in their farm. So that's less cost for them as well. And they can best manage their environment and their soil and their crops without losing so much revenue. GMOs is one way of the future. There are a lot of different technologies that are out there that are available to the farmer, and that universities are working on currently. So it's a one piece of a whole toolbox that can help the farmer in the future, but it's very important. GMOs have provided a means to increase soil moisture, increase the health for the actual soil itself, also increase yields with working with best managing practices, also reduce the amount of CO2 in our atmosphere because farmers don't have to go into the fields as much to spray and manage their fields. So we also have the reduction of pesticide and herbicide use as well. When you go into the grocery store and you see a label that says non-GMO, and it's implying to you that, well, this has another counterpart that is GMO. So I have to find non-GMO products. Well, that's just not the case because you don't have to be afraid of non-GMO products. There's only 11 GMO products out there. And the majority of time, you're not going to find them in the grocery store. You'll find them in processed foods. Why did I choose agriculture? I think part of it is just my background. My family was in agriculture in the Philippines, a tropical agriculture. I was raised in a state that was primarily agriculture and also my love of science and really my drive to help and make a difference.