Thứ Sáu, 24 tháng 11, 2017

Waching daily Nov 24 2017

there's a 53rd earths Calder affects basically our earth with one difference

the Nazis won the war I hate message they have a weapon like

doomsday weapons to fight our way through you can't fight your way through

an army and the Nazis alone

to the head

she's fast bastard this isn't your earth

what is good YouTube Warstu here with a video on the flash season 4

crossover Christ on earth X crisis on Earth X which is coming up next this

coming Monday starting with Supergirl going to arrow then go into flash and

legends more on the truth Tuesday so we have come across a potential leak so

this video will be going over the potentially leak and whether it's true

or false it does sound kind of interesting but it's a bit inconsistent

in places so careful spoilers if you don't want to know this so I will link

it down below if enough people in the conversation want me so it says the

episode starts with a shootout between earth long gang in earth X against other

germs so this tells me that we are going to be seen as X Martin Stein is badly

injured Marty Stein is rumored Lee to be the one that is killed but also so sits

in cold and few others ray who is the new characters who is one of the freedom

fighters and the flash is chasing a robot that is heading towards the earth

or one gang not sure if it's metallo or Red Tornado sits and codes with them so

the bit that makes me believe it's not like legit I mean part of it could be

true is not sure if it's metallo or a tornado seen as Red Tornado is red so

you could clearly tell the transparency between them Stein is the MVP he's

crawling slowly towards a level a leader that opens a breach Wells o board I

guess this means Eva thorne version of Wells prepares to operate on Cara he's

used a special scalpel to try and cut Cara but wasn't able to proceed because

he was stopped by awesome Adam defeats both Wells and DA which I

presume that means dark Archer how could the atom defeat any version of a flash

and arrow dark Harrow and mean let's go on guys rest of the legends arrived not

sure where they are it looks like the art part of the

earlier episodes since they don't know where the Germans came from the userland

using the word germans is the ADI monetization thing on YouTube

Aksum can now increase in the size of his heart hands and arms so yes looking

like he's kind of like ant-man in in the Marvel Universe earth or gang

along with citizen cold and Rey return to earth 1 so this confirms that the

Argo to earth X worth mentioning that Sara Mick Jack Stein are the only

legends who are present in the wedding they free Mick and wardog who are

imprisoned in STAR Labs øg øg is still weak oh gee original oh gee I've got no

idea who og is dark arrow doesn't want to leave her side that oh gee o-over go

is still weak because we've seen the first in trailer that Supergirl takes

out over go dark hour vs. Felicity green arrow arrives with over go as hostage

reverse flash saved RF I presume that means reverse flash who else could RF b

RF saves both over girl yeah it must be reverse flash saves both over go and

dark Archer Cisco is now here whole gang fight metallo and defeat it earth X

prepares for the invasion lol the dominators tried man Ola 30 scenes Mick

and citizen cold talk Mick thought it was another one of his ghosts Earth X so

Earth X Mick apparently died in an honourable complete an honorable police

way Jackson Stein of both in critical condition Gideon can't fix them earth X

have their own Waverider which we have seen in the most recently trailer guys

this could be true over go is still dying and is about to

supernova Stein doesn't want Jax to die because of him so he drunk a potion that

was created by Kidd and probably on a previous episode to serve there

Stein dies very badly interest in dark Archer wants a truce they would leave

Earth 1 in return they will leave hand he'll leave hand over Cara

when Oliver didn't agree earth X started attacking at the city not sure which one

probably central city Mick randomly fires his gun on every German citizen

cold arrives and talks to Mick about the due process and human rights I find that

funny legends Waverider defeat earth x-ray

rider with the help of KF a man Amaya Azari Cisco and Harry Barry it lets

wells but ok so it's just a version of a bar thorne that's Harrison wells it

appears but before he went away he said something like this I wonder what face

I'll be wearing next time when we meet again this has come up on social media

quite a lot so refers that reverse flash it's going to be appearing again so it

furs that dark flash is not actually dark flash he's actually a version of

reverse flash which is pretty cool over go exploded supernova can't destroy

planets right this one only explained it like nuke dark Archer screams no not

sure if it's just a copy but Stephen Amell

screams here it is quite high pitch Oliver strikes dark archers heart Cara

falls to earth straight from orbit Nate catches her

which we've seen the trailer said something like the Man of Steel is

saving the Girl of Steel Superman should be in the crossover I guess this is a

him because obviously Ray Palmer the actor that plays in Brandon Routh I

think his name is did play Superman so I guess it's kind of an easter egg citizen

Cole and Ray are about to return to Earth X I don't really have any context

since I only saw the arrow episode before this but it looks like CC and Ray

are in a relationship captain cold and Ray are in a relationship okay well it

is an alternate universe so let's carry on citizen Cole wants to sell an earth

one but not for long this is Laurel versus

black siren again CC and Rae kissed okay interesting

next scene Stein's funeral with Jackson given the eulogy Alex and Sarah said it

goodbyes Oliver fist bumps Alex bar Barry and iris want Oliver to Wed

them as mayor Oliver then recommends a friend to preside over their wedding

flash kid nuts Diggle from Star City Diggle throws up again okay that's gonna

get born if he throws up every time the flash gets him no this is the first time

I saw Diggle in the crossover all over became the best man and Felicity became

the man a lot which is weird about this is Oliver Queen it wasn't at Barry

Allen's stag do at all yet he's going to be the best man for this seat ask Diggle

if he could also Wed her and Oliver okay this guy this is gonna trigger a lot of

people she then proceeds to propose to Oliver there's a whole speech about

frisky being the only girl for Oliver and all that Oliver and Laurel scenes

from season 1 to season 4 is better than this so this looks like it's a director

Marc Guggenheim kicking at the Lawrence death in the teeth so anyway guys this

is a kind of a leak I don't know what to make of it a lot of it kind of looks

like it could make sense but I don't know guys comment down below guys do you

think this is it is factually true I mean it's just a hype up the kind of

shows for next week I mean I'm really excited

it doesn't really spoil an awful lot because everyone already knows that a

version of Martin Stein would most likely die we got of this you could pull

from the actual trailer so a lot of this could be just misleading it could be

anyone writing it but the person doing it claimed Lee apparently worked or seen

these scenes from behind the scenes so I'm not sure if it's actually factually

correct but I don't know it does make a lot of sense but anyway guys please like

Scott and comment do you think this leak is real did it annoy you I did give a

spoiler warning it's a bit strange how only Sarah Mick Jackson Steiner present

why isn't the atom at the kind of wedding

I'm not very sure but anyway guys it's just a short video on going over the

actual league please like subscribe and comment guys as that will be awesome and

I will catch you in another era verse video very soon catch me on notification

squad button down below and I will catch you soon guys catch ya later

For more infomation >> The Flash Season 4 Crisis On Earth X LEAKED Information, Death REVEALED? & Ending Breakdown!!! - Duration: 9:59.

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How To Identify Animators' Styles! - Duration: 10:02.

Whether it be on my channel, Sakugablog, Kanzenshuu, or any other website that deals in a form

of animation coverage, one of the most common questions you'll see is: "How do you know

who animated what?"

And it would be so nice if I could turn around and say, "Well, the studios just tell us",

but unfortunately that is very rarely the case, and the truth of the matter is:

Everything that goes into identifying animators is pretty much like roleplaying CSI.

It involves research, gathering evidence, analysing evidence - which essentially means

going frame by frame through a hell of a lot of episodes from many different shows.

By the end of I t, many of us look like Charlie from It's Always Sunny in Philadelphia.

It's very stressful, but very rewarding when you finally crack the case.

Today, we are going over all the different aspects of a scene to look out for, what to

keep in mind, and why it's okay to make mistakes.

This is a guide on identifying animators…

Let's get underway.

<INTRO> WHERE TO BEGIN!

Approaching a brand new show for the first time can be very daunting, but the best place

to start is with the credits, and they will be your best friend throughout the entire

process.

Sites like Animator's Corner put up translated versions of the staff lists for certain shows,

but they don't cover everything, so you may find yourself drawing kanji into Google

for ones that haven't been translated.

The reason to begin here is that you need context.

You cannot make guesses unless you know who's working on the show.

A style in one episode may look like one in another, but unless you can compare staff

lists to see what recurring names there are, it could well be a coincidence.

It's also a great starting point as far as research goes.

It's very rare that everyone on a show is a newcomer, and often you'll find that the

interesting scenes you're looking into, are being done by animators who have a great

deal of history in the industry.

Perhaps they've been identified before, either by a director or themselves on social

media.

If that's the case, you can plug different names into a site like Sakugabooru, and start

comparing confirmed scenes against your presumptions.

Sometimes that's simply not possible, though, in which case I strongly recommend starting

with the animation supervisors.

A supervisor's job to provide consistency within an episode – they correct, aka partially

or fully redraw the artwork in scenes to ensure the characters are at least within the realms

of the show's designs.

They may also overhaul the movement if there are issues there.

The reason to start with them is that their style will often dominate an episode, and

if you're not familiar with the supervisor's work, it can be very easy to accidently attribute

their idiosyncrasies to certain animators, when really, they're simply corrections.

Once you understand the supervisor, you can then begin to put aside their input in your

mind, and take a better look at everything else.

EVERYONE HAS A TELL With those things in mind, let's touch on

what exactly to look for when considering character art.

As important as character sheets are, everyone has their own touch, and it's those standout

differences that are the key to working out who's who.

Ears, noses, shading, eyes – everyone has their tell, and if you find a certain stylistic

trait dominates every episode a particular name is on, the likelihood is, that is them.

For example, Masahiro Shimanuki in Dragon Ball Super has a very recognisable style.

If we go by ears alone, you can see that distinctive shape across every single one of his episodes.

He uses very large indented cheek shading, and his noses are often almost tear drop shaped,

but with a sharp 90 degree angle at the bottom.

Naoki Tate's drawings are very round, with thick eyebrows, and the eyeball starting very

close to the far edge.

His noses are very thick, and he consistently uses a sort-of rectangle cut in half when

drawing grimaces.

You can find these distinctive traits across every single supervisor, and while they may

not be obvious upon a first viewing, it's very easy to spot these things when you look

at their episodes one after the other.

Sometimes it's as overt as the examples I just gave, while other times it's subtler

– it depends very heavily on the extent of the supervisor's corrections.

Either way, you will find them somewhere.

One thing to keep in mind is the frequent use of a "Chief Animation Supervisor"

in modern anime.

While a regular supervisor's job is to bring consistency within an episode, a chief supervisor

is there to add consistency across the entire show.

If you find a certain style in every single episode – or in Super's case, every other

episode – chances are, that's your chief supervisor stepping in.

As you can see, it's like building a picture of styles, and this can often lead to identification

through process of elimination.

If there are three supervisors on an episode, and you know two out of three, it's not

difficult to look at that leftover style, compare it to their episodes in the past where

you weren't sure, and make the connections pretty easily.

EFFECTS AND TIMING If character art is primarily a tell for supervisors,

then there needs to be a way to get to the animators underneath, and that's where effects

and timing come into play.

Effects refers to things like smoke, debris, beams, and explosions.

The shapes of these things are some of the best ways to identity an animator.

For example, to use Naoki Tate again, his smoke is chunky, heavily layered, with large

circular shadows that sit on the edges of the plumes.

Futoshi Higashide's is much more cartoony, with very bold round shapes that are generally

edgelit.

Naotoshi Shida's is probably one of the most distinctive out there.

It's incredibly angular, and features very unique shading.

When it comes to beams or debris, the idea is similar – look for reoccurring shapes.

Kenji Miuma wants to assault you with deathly sharp beams in almost all of his scenes.

Heck, the most famous example of debris would have to be Yutaka Nakamura whose cubes have

pretty much reaches meme status.

Next up is timing.

Timing is one of hardest things to use to identify an animator, but it's just as important.

To put it simply, timing refers to how something moves.

The weight or ease of various motions.

Naotoshi Shida is one of the most famous animators with hugely recognisable timing.

His characters move like rushing water, and the camera beams along with every movement

– almost looking sped-up in places.

On the flip-side, there are people like Mitsuo Iso who don't draw from pose-to-pose, but

rather frame to frame, resulting in spectacularly loose, and at times, almost hyper-realistic

movement.

Learning to understand and recognise timing is incredibly useful, especially since many

scenes may not contain any effects.

Unlike character art, these aspects are transferable from show to show.

There are no style guides for effects or timing, so unless a supervisor is a little overzealous

and redraws an entire scene, they're the one strong voice an animator has across all

of his or her projects.

GENERAL ADVICE I've been doing this stuff for many years,

and have made a lot of mistakes along the way.

As a result, I can thankfully tell newcomers what be careful of.

My biggest piece of advice is "The simplest answer is always best".

If you find yourself saying, "Oh, this is probably this guy, maybe it looks different

because they had more time", or you're saying, "Oh, this is uncredited such and

such… probably just helping out", make sure you're not letting confirmation bias

cloud your judgement.

The aforementioned examples absolutely happen, but generally, if you find yourself jumping

through mental gymnastics to credit a cut, it's best to put it on the backburner until

more evidence presents itself.

Don't be afraid to reach out to animators on sites like Twitter.

Quite often, unless the studio forbids it, they're more than happy to let you know

whether your guesses are right or not.

And lastly, it's okay to be wrong.

After all, we're essentially playing a guessing game here, and even people who work on shows

get things wrong.

I remember Hideki Yamazaki accidentally calling Tadayoshi Yamamuro's work Miyako Tsuji's.

Nobody's perfect, and while you can be 99% sure you're correct, there's always that

1% chance you're wrong.

- Identifying styles can be incredibly frustrating,

but it's so rewarding when you crack someone's work.

When you finally nail down who exactly did that one scene you loved, it opens up their

entire back catalogue, and helps you build a mental picture of the type of styles that

really work for you.

Thank you so much for listening, I hope this serves as a nice starting point to your own

adventures.

If you have your own tips or you have any follow-up questions, feel free to leave those

in the comment section below.

Rate the video if you'd be so kind, subscribe if you're looking for more animation content,

and I

will see you next time.

For more infomation >> How To Identify Animators' Styles! - Duration: 10:02.

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GuitarmageddonZL1 VS Diablo Formula Racing - Shots Fired! - Duration: 17:07.

Sorry the audio/video sync is way off...

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Battlefield 1 - тащим за снайпера - Duration: 1:39:15.

For more infomation >> Battlefield 1 - тащим за снайпера - Duration: 1:39:15.

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Editing Genes Inside the Human Body - Duration: 7:18.

[♩INTRO]

Last week was a pretty big deal for the future of medicine.

For the first time ever, researchers injected someone with tools that would edit his DNA,

hopefully curing his genetic disease.

If it works, it'll be a huge step toward treating some of the world's most debilitating

genetic diseases.

But despite the connections being made in some places, this isn't ushering in the

age of designer babies.

On November 13th, a man named Brian Madeux received billions of carefully-designed, gene-editing

viruses via an IV.

Madeux has Hunter syndrome, which means he's missing an essential enzyme for breaking down

certain kinds of large sugar molecules.

Instead, these sugars accumulate in his cells, causing them to swell, and making his tissues

and organs grow to abnormal sizes.

Hunter syndrome can lead to all sorts of problems, including less mobility, vision and hearing

loss, brain degeneration, and heart disease.

And like many rare genetic diseases, it has no cure.

Patients can get enzyme boosts to ease their symptoms, but they're incredibly expensive,

and the enzyme levels drop off quickly.

Gene editing — if it works — would be a much more effective treatment.

The idea is almost exactly what it sounds like: you take a patient's genes, and you

edit them, usually with the goal of fixing a mutation or curing a disease.

Researchers have been trying to cure diseases this way since 1989, but in the last few years,

gene editing techniques have gotten much more accurate and reliable.

There are already some approved treatments that involve taking the patient's cells

out of their body, modifying their genes, then putting the cells back in.

With Madeux, researchers are doing something new: the tools to edit his DNA were injected

directly into his blood to then go modify cells elsewhere in his body — in this case,

his liver.

While most of the gene editing research you hear about these days uses a tool called CRISPR,

this treatment uses a system known as zinc-finger nucleases.

It's a slightly older method that's harder to design and make, but it also has a good

track record.

Zinc-finger nucleases consist of two essential parts—a DNA-clipping enzyme, and a section

that binds directly with the part of the genome you want to cut.

To edit genes, scientists design a pair of these DNA clippers that cut both halves of

the DNA strand.

If the bit of DNA they want to add is designed to match the sequences at those broken ends,

then when the cells go to repair the break, they'll sometimes include the new gene.

For Madeux's treatment, the blueprints for these gene-editing tools were packaged in

modified viruses, which, you know, infect cells — the way that viruses do.

Then, all the team needed to do was put them in a plain old IV.

If all goes according to plan, Madeux's liver will transform into a mini manufacturing

plant for the enzyme he lacks.

According to the researchers, if the gene gets into 1% of his liver cells successfully,

he'll make enough of the enzyme to treat his condition.

But that's a big if.

Gene therapy trials are known to be risky.

People have died when the viruses used in other types of gene therapy treatments sent

their immune systems into overdrive.

And that's not the only potential complication.

Sometimes the introduced genes land in the wrong spots and cause cancer.

And if the gene is activated in the wrong cell type, it can cause other issues.

The new treatment is designed to avoid putting the gene in the wrong place very often, and

there's a failsafe that's supposed to prevent the insert from working in any non-liver

cells.

But there's always a chance something could go wrong, and if it does, there's no going

back.

They won't be able to un-edit his cells.

That's the risk—and reward—of what Madeux signed up for, and it may take several months

before we know whether the experiment succeeded.

Even if things do go smoothly, though, the therapy isn't necessarily going to cure

him completely or indefinitely.

This genetic editing should help with most of the symptoms, but the enzyme probably won't

be able to cross the specialized barrier that protects the brain, which means it won't

be able to prevent brain damage.

It also can't reverse the damage the disease has already caused over the past 44 years

of his life.

And the therapy should work for at least several years, but how long it remains effective depends

on the age and type of cells that incorporate the new gene.

The ultimate goal, though, isn't to treat adults like Madeux and the other volunteers

in this study—it's to develop a safe enough protocol to use in children or even infants.

That way, they'd be spared the syndrome's worst effects.

And if this treatment works, researchers will also be a lot closer to developing similar

gene therapies for other types of diseases.

But one thing this research will not get us closer to is some dystopian future where we're

genetically engineering our children to have extra fingers or whatever.

Whenever there's a new development in gene therapy, there's a lot of talk about the

risks of babies with edited genes, or how to draw the line between editing an embryo's

genes to eliminate a disease and custom-designing a person.

And those are real ethical problems that we'll need to solve before we start using gene editing

to change someone's genome before they're born.

But research like this, where scientists are trying to treat a disease in a living person,

is totally different.

The changes to Madeux's DNA won't be happening in any of the cells destined to become sperm,

so there's no way for him to pass them on.

This is a pretty big leap for gene therapy, especially if it works without serious complications.

But it's not designing babies.

Alright, I've got an EXCITING ANNOUNCEMENT for you.

The SciShow team and I were talking about a common problem that many of us have.

When people ask us what we want for Christmas or for our birthdays, often, we won't know

what to say and then they'll get frustrated and we'll get frustrated and it's like

"I just wanted to do a nice thing for you and you're being so stubborn!"

But I don't know!

I don't care about stuff that much.

But I was thinking, you know, there are a few things that I would like to get or that

I've bought for myself of that people have gotten me that I loved because I love the

world and the universe and understanding things and the existence of life and doing experiments

on my proteins -- that kind of thing.

So, we've put together a collection of artifacts of this universe.

We got a limited number of each of these things and we've put up at a store called SciShowFinds.

These SciShow Finds are curated by me, they are things that I know I would love to get

in my stocking.

It's a very small list, just six cool things with varying price points.

And I did my best to only include one science book, It was very hard to pick, but I picked

the one that had the most impact on me of all the books that I read this year.

It's called "What is Life" and it makes an extremely compelling case that biology is

like a chemical inevitability.

And, along the way, you learn a whole lot about chemistry, and it's great, because

-- you might end up googling things every once in awhile to make sure you know what

the author's talking about -- but at the end of the book, you will understand chemistry

in a whole new way.

We're probably going to add new finds...as we find them...throughout the year, and the

new ones will replace these old ones, so these products are only around for a limited time.

You're bound to have friends or family who would love these Mars Socks, trilobite fossils,

or this Space Shuttle lapel pin.

And, if not, you might want to get them for yourself or just send that link over to somebody

who's saying to you, "what do you want for Christmas?" and it's like, "Just

anything from this website, Ma.

You'll be getting me socks that I'll actually appreciate this time."

And know that when you buy from SciShowFinds.com, or you send that link to somebody else, you

are also supporting SciShow.

So, thank you for doing that.

And I know what you're thinking, "Can I get that cool SciShow hoodie at SciShowFinds.com?

You can't.

You can't.

This is just for staff.

Sorry.

[♩OUTRO]

For more infomation >> Editing Genes Inside the Human Body - Duration: 7:18.

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Francisca Lachapel: del tormento de su niñez al sueño de Nuestra Belleza Latina - Duration: 4:42.

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CBC NL Here & Now Friday November 24 2017 - Duration: 1:02:17.

For more infomation >> CBC NL Here & Now Friday November 24 2017 - Duration: 1:02:17.

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Hand Stuttering Technique - Duration: 28:42.

So, the hand stuttering technique or I would call it a method because it's a much bigger thing

than just a technique. That's the technique I use myself in my own therapy, that's the

technique I'm preaching about in every single video of mine, that we use inside the Improve

Program and I just love this technique because I see every single day that it is really working.

Every level of severity like from severe to mild, it does work. If you want to know what

this hand stuttering technique is all about and how it's working stay tuned.

The first thing I want to make very, very clear that in the stuttering iceberg that

stuttering represents actually; the top of it are the speech impediments and the huge

body that other people don't see sometimes we ourselves don't quite realize that body

of the iceberg which has the stuttering fear, fear of stuttering, fear of speaking, desire

to hide our stuttering, desire to avoid, avoidance behaviors so all these represent the body

of that iceberg and the speech impediments that we do see that are on top of that iceberg.

The hand stuttering technique affects, aims both of these and that actually makes it so

powerful. So let's start with the top of the iceberg, the speech impediments. Something

that is very obvious for us and we often see our stuttering as speech impediments and we

measure our speaking in terms of fluency or disfluency. We do want to target the speech

impediments of course and yeah what we usually do? We do the speech exercises and that is

absolutely awesome. Any speech exercises that develop the speaking mechanism, reading out

loud like easy onset. There are many speaking exercises, stuttering techniques. We can develop

the diaphragm muscles to make our voice more powerful. Everything is perfect, everything

is awesome. But when it comes to the real life settings, real life situations we pretty

much let's call it forget about everything because there is no way to remember it. Our

speaking works as an automated pattern and stuttering is an automated pattern. It is

a program that we're having. This process of speaking is highly automated and it's

backed by the emotional background which we're having.

When we face a speaking setting, this program starts, launches automatically so our stuttering

becomes a state that penetrates our mind and body and we'll start thinking about our life

in terms of how to avoid speaking, how to hide our stuttering, so it becomes much more

than just speech impediments. And again, it's working as an automated pattern. When we face

a speaking setting we already know that we will stutter. That line of code that I will

stutter at some point is the core of that automated pattern, of that program that we're

having.  How do we change that line of code which

says that I will stutter at some point? To another line of code which says that I'm able

to say what I want to say without speech impediments in any circumstances so how do we replace

that? I want you to imagine our speaking as a fast river and we want to get to the other

side of the river so once we face a speaking situation, we want to swim to the other side

of the river. We get to the water but the river is so fast. It just flows us away and

we never get to the other end as we wanted. Exactly the same thing happens with our speaking

we're just flown away and we just feel helpless again, even if we had many speaking exercises.

In this setting it's really hard to get conscious in this present moment and really do all of

that we've learned in the classroom. What our speaking is missing is the inner

structure, inner frame. And what actually the hand technique brings first of all, it

brings the inner structure, the frame. We use our hand to serve as a support for our

speaking. So we learn how to relax ahhhh, how to say something in relaxing way booookkk.

Using our fingers our thumb long launches the phrase. Once we launch it confidently

we can say the phrase confidently, so we learn how to relax. Then we learn how to put some

power back boookkk. Then we learn how to be more like straight forward with that power,

book. We go through some learning process about

what we want to put on a foundation. What we want to support actually. We want to support

a relaxing and powerful speaking. We want to feel the stresses because all our speaking

is going from a stress to another emphasizing stress, so that's like a drawing like intonational

picture that we're having, the expressive way of our speaking. With our fingers, just

feel each of the syllables and feel where the stress is. And what we do basically we

restore the natural way of our speaking, the natural way of being expressive because you

choose where to put the stress. You choose how to put the stress. Again, the hand serves

as a foundation for that. Now, if you want to learn more about the exact

exercises; how we go from the first like sound to several fingers to saying phrases please

go down below this video see the link to the Improve Program, get inside it's totally

free. There are like step by step lessons with exercises, how do we actually learn that

technique. So that's the technical part; we find the support using our fingers that's

the eliminating the speech impediments part of this technique or this method.

Coming back to this analogy with the river, what we actually do with this hand stuttering

technique, we don't swim the river. We're building a bridge over the river. And like

building a bridge we need the building blocks, we need to put some work into constructing

it so it takes some time. It's not a one day exercise. As we build that bridge and we feel

that we can use our hand technique to say what we want to say, we feel very confident.

We feel again just totally different about our speaking. We feel that we can say whatever

we want to say in any setting. So we basically start to replace that line of code that we're

having that I will stutter at some point. With another one which I can come back to

my powerful, expressive speaking whenever I want. Even if I have an impediment I don't

have any worry. I don't have any anxiety. I don't have any negative feeling about it

like regular people. Everyone has speech impediments from time to time but "regular normal people"

they don't notice that; they don't bother because again they have a different line of

code in their speaking program that "I'm fine, I can come back to my regular speaking anytime."

We replace that stuttering line of code to a new line of code and it's all because we've

restored the inner structure, the inner frame that we are missing right now. Our speaking

is missing that inner structure, inner frame right now. And the cool thing about this hand

stuttering technique is that it's not an external device, not an external app or software or

trick that I'm kind of artificially using in my speaking to get through speech impediments.

Again, you are restoring your natural way of speaking; you put the stresses, the emphasis

you draw your intonational picture of your speaking. Yeah, we're using this is a natural

tool given us by nature because part of the brain which is responsible for speaking. It's

also responsible for motor activities and speaking itself if you think about it just

a bit is a kind of motor activity as well. Again, the cool thing about this hand stuttering

technique is that it's not an external thing it's our internal tool and once we build that

inner structure that we need actually, we don't need to use our hand anymore. We can

just replace it with regular gesture that again, "regular normal people" use to be expressive,

to be powerful. It's already there. The inner structure is already there. It takes some

time like with every pattern. With every automated pattern it takes some time to build it and

we need to use our training speech using our hands for some time in certain situation.

We need to build a certain amount of positive speaking experiences so that they go into

our muscle and emotional memory as well but once it's there it take some time and we don't

need to use our hand anymore, it's just there. Now, I'm going to tell you how this hand stuttering

technique the body of the stuttering ice berg. Remember the top of it speech impediments

and we've talked about right now. We just affect the speech impediments, we eliminate

them, we construct this inner structure or speaking, perfect! But we have the body of

the stuttering iceberg that holds are stuttering fear, fear of stuttering, fear of speaking,

desire to hide the speech impediment and avoidance behavior. All these, they're like huge roots

supporting our stuttering. How do I address that body of the stuttering iceberg? And you

might be thinking now, "Wow it's a cool technique, cool method. I want to do it. Yeah,

c'mon let's do it." And most people like to think like that until they realize that first

as with every skill, you know playing the piano, first you just play with two fingers,

two music notes. You're not playing the piano yet. It's a process; it takes some time to

learn. You would say something like this, so obviously we start at a slower pace then

our usual choppy speaking, that's what we kind of think about as normal as our like regular speaking

or that the one expected from us or we think people expect from us. Here we start to address

the body of the stuttering ice berg because again speech impediments just leaves in the

branches, it's no pint in cutting the leaves when the trunk and the roots of this thing

still staying in place. I want to address all of it, altogether. When you say something

this way in front of other people, starting in a video call you realize like my real life

and this way of speaking, how can I connect these two? Probably there is no way I can

say something this way anywhere in my real life. So we have this uneasy moment where

we realize, yeah that's a cool thing. Inner structure, what you've said before, the bridge

, yeah like all those stuff but I'm not ready to use it just anywhere beside the class room

and even in the class room I feel uneasy using it.

Some people say, "You know it's not natural. I want to get free from stuttering. I want

to stop stuttering being natural, being spontaneous I want to use my normal speaking. I can speak

fluently with myself or in certain settings. Why do I need to go through this uncomfortable,

uneasy procedure or something? I don't know. Why can't I just be natural with my natural

speaking I have?" I totally get this because we all go through this same process of thinking,

through this I want to stay where I am but the point is once we start thinking that I

want to stay where I am it means that I'm pretty much don't want to do anything new.

I want to do everything that I do right now. I want to use the same speaking that I'm using

right now. And here are just two ideas. First of all, remember Albert Einstein, it's a sign

of insanity when we do the same thing over and over again and expect different results.

It doesn't happen this way. If you have the result that means that you've done something

differently. So please, please, please once your mind starts telling you, "Oh no, no,

no I want to be natural. This is not natural." Please take a look at yourself and just recognize

that there is something behind that and that something is I want to do what I've been doing

until now, the same thing and I want to get different result with this. Once you realize

this you will see that there is no other way other than just break the wall of this box

that you're sitting in because you're going back to the same box and that "It's not natural"

is another limiting belief that doesn't let you get out of there. So that was the first

idea. The second idea is when we start to play in this I want to be normal, I want to

use my natural, spontaneous speaking. I want to speak like this. I want to speak like I

do when I'm fluent, when I alone, with somebody else, with my friend. We

start playing this fluency game. When we impose a lot of pressure on ourselves like, "I want

to be fluent, I want to be fluent." I'll be fluent, I want to be confident, I'll try".

And we'll start measuring again our success in terms of fluency or disfluency. Again,

we put ourselves in the center of the stuttering iceberg which represents the stuttering fear,

the desire to hide, to pretend being normal and to avoid anything that we see we can't

handle. So we get just in the center of the stuttering

iceberg. It's so difficult there so the way to break that pattern, to get out of that

stuttering iceberg completely is to start measuring our speaking from just a different

perspective just to have a different dimension to measure success. It's not about fluency

or disfluency like "I want to be fluent, I want to be fluent." It's not about hiding

your stuttering. It's not about hiding your improvement efforts. It's about how you interact

with the speaking environment, speaking setting. It's not about fluency. It's about how you

feel. Do you respond, do you feel that stuttering fear and desire to hide and avoided? Or do

you feel confident to be yourself, to be yourself as a person who tries to improve, as a person

who stutters but is doing something to improve to build that inner structure who is open

about it? Once you do that you just instantly get out of that stuttering iceberg. You're

not there. And basically you break it totally. You replace that fluency dimension to totally

new one. That's what the hand stuttering technique does. Once you use it, you realize that it's

not about fluency, it's about again how you interact with the speaking environment whether

you lead in that speaking environment with your way of speaking, with your style of speaking

or you just respond pretending to be normal with that huge desire to hide it. Hide yourself

with your stuttering. So we want to replace it again with being open and leading, setting

the terms for that speaking contact, speaking environment, speaking setting. We start to

create that speaking settings, speaking environment. We start to lead and that turns it upside

down. Your stuttering just get out of it; it's nowhere, it's broken. The core of it

starts to break. The roots are not working, the roots that support your speech impediments;

they're completely out of the game. By using the hand technique, we address, we affect

not only the speech impediments but maybe the more important thing is that we affect

the very core of the stuttering ice berg. So we affect both the physical thing and the

psychological piece; how I feel as a person about the speaking context, speaking environment,

speaking setting. Again, it's not about fluency. Fluency can come and go. Right now, "I've

done it, I've done. I was fluent." The next day, boom I got speech impediments and I got

thrown back to the very beginning and you feel like there's nothing to be done. You

feel helpless again. So we want to replace that fluency game with another one where you

create, where you lead, where you truly feel free of the whole stuttering iceberg, not

only the speech impediment but the fear of stuttering, the desire to hide it and avoidance

behaviors. You get free from the whole thing. So, again once your mind starts telling you,

"It's not natural, it's not natural. I want to get to my natural speaking" and it will

happen. It happens to everyone who goes through this process. My mind was telling me the same

thing and I didn't use that hand technique in my real life as I kind of have to. So it

goes with every single person but that is basically getting free from stuttering like

talking to those negative thoughts and really trying to address those. You see that their

concept of what is natural is something vague. It's natural to lay in bed to do nothing but

we wake up each day because we have some inner desire to strive, to achieve, to do, to create,

to bring food to the table, to create life, to have sex, to create families, again to

create something, to feel something new. All these combined is life, fulfilling, it brings

some sense of satisfaction, sense of being a game like something unexpected, something

where we're going to, so that is life. What is natural? Laying in bed like feeling that

I don't want to do anything new or feeling that sense of a challenge where you go to

somewhere you've never been before to see again and to feel something new about yourself.

So when your mind is telling you that this is natural or this is natural, both things

are natural. It's just a matter of your choice. And lying on the bed doing the same thing

as you did before, as I say our speaking lacks this inner structure, we need to do it. So

getting up and doing the work and feeling just a bit of a challenge is also absolutely

natural for us, both things are natural. It's a matter of choice. We need some motivation

we need someone to gently push, give us a nudge so that we move towards that direction.

That's what this video is all about. You can find the link to the Improve Program where

I'm showing exactly the exercises, how we can build the new structure of our speaking,

how we can use our hand to restore our natural speaking. You can find the link down below

this video, the Improve Program. It's totally free, yeah I'll see you there. If you like

the video give your thumbs up. For more videos subscribe to this YouTube channel, join Free

From Stutter Facebook group where we share the insights, discussions, lots of cool stuff

there as well. So yeah, see you in the next video.

For more infomation >> Hand Stuttering Technique - Duration: 28:42.

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How to Come Up With Ideas - A Writing Excuses Animated Review - Duration: 3:06.

One of the most important things I've learned from writing excuses over the years,

at least regarding ideas, is that writing actually breeds ideas.

That the more you write, the more ideas will come.

So you're not supposed to save your best idea for the next book but rather, write it now!

As you write, more and more new ideas will form and they just keep getting better and better

but you're also not supposed to just abandon whatever story you're working on as

you come up with these new and exciting ideas.

First, you need to learn how to finish what you've started.

So what do you do in the meantime?

This is where the writing comes in again, write the new ideas down!

If you think of something cool in the middle of the night, in the middle of work, or in

the middle of writing something else, write it down!

This isn't just to make sure you don't forget it, but it actually lets you move on to other

things freeing up your mind for other thoughts and ideas and allowing you to build on that

other idea too.

Otherwise, you just end up spinning the same idea around and around in your head indefinitely...

or until you've forgotten it.

Alright, so what happens if it's not working for you?

What happens if you feel like you can't write because your brain is just at a dead end?

The writing excuses team has discussed a bunch of techniques for getting around this problem,

but this one is my favourite.

Just do exactly what I just did, ask the question, what would happen if... and fill in the blank.

The next step is to write down all of the possible consequences of this idea and look

for the one that really piques your interest.

Now you've got something cool, but maybe it's not quite good enough yet.

So do the technique again and mix the two ideas.

Now you've doubled the consequences and hopefully doubled the intrigue.

Alright, so now you're ready to write but you're looking at a blank page and nothing

is coming to you.

Howard Taylor has a phrase that he calls a surefire cure for writer's block, and this

is it: "Butt in chair, hands on keyboard."Write something else skip to the exciting scene,

free write, with the understanding that writing breeds ideas, the goal is to write anything

and let the ideas come.

Now this is the part where the rule kicks in, don't give up on that blank page, don't

open something else, keep your butt in the chair and your hands on the keyboard because

it's impossible to write if you aren't in front of your computer with the word processor

open (or at least in front of some paper, with a pen in hand).

For more infomation >> How to Come Up With Ideas - A Writing Excuses Animated Review - Duration: 3:06.

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Be One with Me - Duration: 1:25:34.

For more infomation >> Be One with Me - Duration: 1:25:34.

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Frequency - Bulacan South | INCinema 2017 (w/ English captions) - Duration: 16:04.

Dad, I'm already preparing my things that I need at aunt's house.

Okay, dear. I'm sorry. I'm a bit tired. Did you eat already?

Yes dad. By the way dad, Miguel will go straight to aunt's house after school.

How about his things? Are all prepared?

Yes, dad. May I borrow your bag?

Okay. Both of you be careful, okay? I have to perform my Church duty so I can't go.

Yes, dad. I'll call right away to let you know that big brother and I are safe.

Okay. Don't forget to pray.

Of course, dad.

[music playing]

Cousin! Try to catch me!

Let's go ahead to the ship!

I don't want to.

Hey Mika! The ship is huge!

Catch me! Migs is not yet here.

Alright. Oh no Mika! Migs is already here !

Miguel, what took you so long?

I'm sorry, Aunt. There's slight traffic.

It's alright. Let's go and board the ship.

Wait a minute. Where's dad? Mika, where's dad?

He told me that he couldn't go because he has to perform his Church duty.

Yes, big brother. He also doesn't feel well awhile ago.

Okay. Don't get separated with us, Mika. Let's call dad.

Yes. He told us to inform him.

Whooo! I'm excited to go to Palawan!

Mom, let's buy some pasalubong okay?

Yes, of course for our friends.

I'll buy pasalubong for tatay!

Of course I'll buy one for him too so that he would be pleased with us.

It feels wonderful here!

Che, let's paint over here.

Okay, it looks safe here.

I'll just be here. I'll gaze at the sea.

Okay. Take care!

Let us enjoy this vacation, dude!

Of course!

Let's visit everything, Anton!

This is so much fun!

My love,

I am happy that my dream was fulfilled with you by my side.

Me too, my love. We waited for years for this.

Finally, we're married.

Yes! I love you so much Ramon. You are my dream come true. We will make a happy and big family!

We went through a lot, didn't we?

Yes, we did. Nothing could ever separate us from each other.

[explosion]

Big brother! It's aunt!

I too do not know! Aunt, aunt! Don't get separated from us, Mika!

Yes, big brother.

[sobbing]

Tanya, Steph!

[sobbing]

Where are you?

[sobbing]

[sobbing]

Mommy, daddy, help!

[sobbing]

My love, be strong!

My love,

always take care.

Always remember that I love you so much.

You are...in my life...

My love, don't talk like that!

No! My God! My God!

[wailing]

[music playing]

Where are we?

Big brother! Big brother! Big brother!

Mika! We are safe!

Yes, we are.

Where are we?

We are in an island.

[sobbing]

[music playing]

Big brother, I'm afraid.

We can overcome this, Mika. Let us trust in God.

I am also hungry.

Wait a minute, I'll look for some food.

Che?

I only overheard your name. Let's go find some food.

Sister? Let's eat.

Thank you. I'm not yet hungry.

Sister, You were crying since yesterday.

Eat something.

Thank you. I think we met each other at the ship.

Yes, big sister. I was the one who approached you when you were painting with your friends.

[Sobbing]

Oh yes.

I don't know where they are.

Stop crying, Sister.

Kids, it's getting dark, I think it will rain later. Let us all help in making a shelter.

Okay, Mika and I will gather leaves.

Then, Che and I will get wood.

Okay. Let's make this fast.

I'll find some rope and other things we need.

Thank you, Mr. Ramon.

Let's move!

Mr. Ramon, you already awake?

I can't sleep.

I remember Salve.

What happened flashes back to me.

I strive to forget the tragedy.

I want to remember the happy moments that we were together.

I am afraid Miguel

that I can't take it if I see her.

I understand you.

But we need to accept everything.

I am concerned of dad who hides his sickness from us.

We can overcome this with God's help.

You have a point Miguel.

We both have different burdens. Wake them up so we can start something.

Yes, Mr. Ramon.

Mika, why are you sad? I'm here if you need someone to talk to.

I miss my father. We were still young when mom left us.

Dad is now alone at home. He also hides his sickness from us.

Is that so? Be brave. Remember that we will not be given a trial that we can't endure.

Yes, big sister.

Che? Seems like you're not feeling well. What do you feel?

I'm okay. I can still endure.

I'm just sad because I was not able to tell dad about my vacation. Because I was sulking, I just left home.

Finally! We finished it!

It looks durable, Mr. Ramon.

I'm happy that we finished this!

Yey! We'll see dad soon!

Good for you. In my part, I'm afraid if they would be angry with me.

Che, your parents surely missed you.

Who would board first?

Me! I know the way!

Okay, good.

Forgive me...

I could no longer stay here.

I am thankful for being with you...

...but being hurt with the loss of my beloved...

one is unbearable.

Whether she is dead or alive, I want to see her.

I hope the day will come that you will forgive me.

Goodbye.

Ramon!

Why did you do that!

Wake up!

Miguel! Che! Mika! Ramon sailed away with the boat.

Ramon!

Why!?

Mr. Ramon!

Father, we entrust our lives to you.

Che! Che! Wake up!

We will die here!

Help us, Father! Help us!

We don't have any hope of surviving!

I don't want to see each of us slowly dying one by one.

Anton! Don't give up! God is looking at us. We should remain firm in our trust in Him.

Mika, Anton, Che Che is burning up! I'm afraid that something will happen to her.

Let us pray to God.

Let's do it. I pray we get through this.

Yes. I am confident that God will not forsake us.

Anton, let's look for floating parts of the ship that we could use.

Okay, there might be something to eat there.

Mika? How's Che?

She's still burning up and is unconscious.

We brought food.

Mika, we also found a bag wrapped in plastic. It is not wet inside. Check it and we might find clothes. Change up.

Anton! That's my bag! I borrowed it from dad!

Open it up! We might find something useful.

Big brother! That's dad's radio!

Hello?

To those who could hear us,

we ask help from you.

We were from the ship that sunk.

Please have mercy and help us.

Please help us in the situation we are in.

One of our friends is burning up in fever.

If days would pass,

you might not see us alive.

Please tell our parents to retrieve our bodies

that we love them so much.

Brethren! We were able to detect a frequency from a nearby island.

They are our brethren who were in the ship that sunk. They are children of a SCAN member from another district.

With God's help and mercy, we will do everything we can to save them.

We relayed this to their district. Let us act fast so that we could see them alive.

We already coordinated with the coast guard and other government agencies. Let us pray, brethren.

Dad! Thank you! We thought we would never see you again!

Mika! God is good!

Dad, we love you so much!

We'll see each other again, Che!

Goodbye Anton!

Thank you Mika. Thank you. I want to know the God you are telling me about.

Yes, Anton!

Thank you so much dear God. We don't know how to thank You.

You saved us from the brink of death and you did not abandon us.

We were hurt but we never lost hope that You will help us and guide us.

Mika?

Miguel?

You're members of the Church Of Christ?!

Yes, we are. We were not able to tell you because you were burning up with fever.

Thank you, Mika! Thank you, Miguel! Thank God!

Che,

I am so happy.

You already are dear to me.

I'll visit you some other time.

Of course, we're KADIWA members after all.

[music playing]

For more infomation >> Frequency - Bulacan South | INCinema 2017 (w/ English captions) - Duration: 16:04.

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Chief keef futuristic type beat - "Ride with me" (Prod. by Simo Made x Nitro) - Duration: 3:13.

Chief keef futuristic type beat - "Ride with me" (Prod. by Simo Made x Nitro) Purchase with link in description

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