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Our pod guest Krista Shennum from Climate Rights International discussed CRI's extensive field research on nickel sector impacts on communities across a swathe of Eastern Indonesia -- from pollution such as acid rain, health adversities such as skin afflictions, disasters such as dam breaks and disputes over land rights and compensation.  An interviewee asked, 'Does anyone care?', which is CRI's report title.  Also in this episode: Erin & Kevin discuss the "Hari" referred to by two presidents, Trans7's pesantren debacle and expatriate directors in an SOE.Read Climate Rights International report here: https://cri.org/reports/does-anyone-care/It takes a lot of money to run a podcast. You need subscription fees for hosting, audio recording services, editor's salary and music licensing. Luckily, you, estemeed listeners of Reformasi Dispatch podcast can help us.You can donate to us on buymeacoffee.com/reformasi and help us grow!

durée : 00:03:19 - Géopolitique - par : Pierre  Haski  - Cri de colère. Depuis le cessez le feu tous les yexu sont rivés vers Gaza. Mais les yeux et les oreilles nous y manquent. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Por que investir no KNCR11?Maior FII Listado da B3FII mais recomendado do mercado Melhor FII de CRI do ano de 2024Retorno histórico de 128,87% do CDI desde o início Fundo High Grade - Operações com baixo risco de créditoDiversificação: mais de 100 operações em carteira LEIA O PROSPECTO E O REGULAMENTO DO FUNDO ANTES DE ACEITAR A OFERTA, EM ESPECIAL A SEÇÃO FATORES DE RISCO NAS PÁGINAS 13 A 28 DO PROSPECTO. One Page: https://kinea.me/WppKNCR12wApresentação Completa: https://kinea.me/MPKNCR12wProspecto e demais documentos do Fundo e da Oferta: https://kinea.me/KNCR12w

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

Neste Dia das Crianças a música, o corpo e a natureza se encontram no Show da Roça Cri-criativa que acontece no Teatro Engrenagem com duas sessões gratuitas, às onze da manhã e às três da tarde. 

Cybersecurity is evolving faster than many community banks and credit unions can keep pace with. With the retirement of the FFIEC Cybersecurity Assessment Tool (CAT) on August 31, 2025, financial institutions are left wondering how best to measure, track, and manage cyber risk without a regulator-endorsed standard. In this episode of the Banking on Data podcast, host Ed Vincent sits down with Cathy Jackson to unpack what comes next for institutions in this post-CAT world. Together, they explore how banks can leverage the Cyber Risk Institute's Profile 2.1, why the seven functional areas of cyber risk matter, and how moving beyond spreadsheets to an integrated risk suite can give leaders a holistic, regulator-ready view of their risk posture.Follow us to stay in the know!

durée : 00:59:01 - LSD, la série documentaire - par : Johanna Bedeau - Génération inquiète et fragilisée, comment aider les jeunes dont les appels au secours ne cessent d'augmenter ? - réalisation : Marie-Laure Ciboulet

Cri du coeur des procureurs : des victimes délaissées et des criminels laissés en liberté | À quand de vraies sanctions pour ceux qui se battent inutilement au hockey? | Hausse des féminicides aux mains de récidivistes: pourquoi ces hommes sont-ils en liberté? | L’Association des procureurs aux poursuites criminelles et pénales interpelle François Legault | Paralysie budgétaire aux États-Unis Dans cet épisode intégral du 1er octobre, en entrevue : Michel Bergeron, analyste hockey à TVA Sports. Il a été entraîneur-chef dans la Ligue nationale de hockey avec les Nordiques de Québec et les Rangers de New York. Louise Riendeau, co-responsable des dossiers politiques au Regroupement des victimes de violence conjugales du Québec. Guillaume Michaud, président de l’Association des procureurs aux poursuites criminelles et pénales à Québec. Une production QUB Octobre 2025Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Send us a textCheck us out at:  https://www.cisspcybertraining.com/Get access to 360 FREE CISSP Questions:  https://www.cisspcybertraining.com/offers/dzHKVcDB/checkoutGet access to my FREE CISSP Self-Study Essentials Videos:  https://www.cisspcybertraining.com/offers/KzBKKouvSecurity governance represents one of the most misunderstood yet critical components of any cybersecurity program. As we explore Domain 1.3 of the CISSP exam, we unpack how proper governance creates accountability and structure that protects both your organization and your career.We begin with a startling real-world example: the "Red November" campaign, where Chinese state-sponsored hackers exploited vulnerable internet-facing appliances and VPNs across defense, aerospace, and government sectors for a full year. This sophisticated operation highlights why casual approaches to security governance leave organizations exposed to devastating attacks.Security governance isn't merely a theoretical concept – it's a practical framework that defines who's responsible for what across your security landscape. We break down the crucial roles every organization must establish: from Senior Managers who hold ultimate responsibility, to Data Owners who classify information, to Data Custodians who implement protections, and the often-overlooked role of Auditors who verify everything works as intended. Understanding these distinctions protects security professionals from becoming scapegoats when incidents occur.The real value emerges when we examine how security control frameworks like NIST CSF, ISO 27001, and CRI provide structured approaches to managing risk. These aren't one-size-fits-all solutions, but rather customizable blueprints that help you systematically identify, implement, and monitor security measures appropriate to your specific needs. Framework mapping allows you to align multiple requirements efficiently, making compliance less burdensome and more effective.Finally, we demystify the concepts of due care and due diligence – the practical actions that demonstrate you've taken reasonable steps to protect your organization. These aren't just legal defenses; they're the fundamental building blocks of a mature security program that aligns with business objectives while meaningfully reducing risk.Whether you're preparing for the CISSP exam or building a more robust security program, this episode provides the practical knowledge you need to implement effective security governance that executives will support and auditors will approve.Support the showGain exclusive access to 360 FREE CISSP Practice Questions delivered directly to your inbox! Sign up at FreeCISSPQuestions.com and receive 30 expertly crafted practice questions every 15 days for the next 6 months—completely free! Don't miss this valuable opportunity to strengthen your CISSP exam preparation and boost your chances of certification success. Join now and start your journey toward CISSP mastery today!

Interview réalisée au Pari par Eliane Pérus.Dominique PRUNIER, comédienne, nous présente cette création franco-américaine " 404 -Inside" qui sera jouée au Pari  à partir du 3 octobre. Elle en explicite le titre.Création portée par la Cie Equipe de Réalisation (FR) et la Smashworks Dance (NY USA) et coproduite par ces compagnies et le Parvis Scène Nationale Tarbes-Pyrénées. Elle nous parle de l'historique du projet qui a démarré en 2023 et aboutit à la résidence de création au Pari en 2025.Spectacle mêlant danse, musique et voix, lumières, avec des extraits de Lydie SALVAYRE (Contre et Dis pas ça) et de Francis FERRIE qui s'intéresse aux questionnements de tout un chacun et à la santé mentale.. Sur le plateau : deux danseuses Ashley Mc QUEEN et Manon HALLAY, un musicien en live Pascal ESCLARMONDE et une comédienne Dominique PRUNIER..Représentations au Pari :- les 3 (AP) et 4 octobre à 20h30 et le 5 octobre à 16h.Extraits musicaux du spectacle composés par Pascal ESCLARMONDE que vous entendrez durant le podcast :1/ Attaque massive2/ Cri silencieux3/ Dedans-dehorsConsultez la page des PODCASTS de l'UTL-TB : https://www.utl-tb.info/page/2238064-rubriques-radioHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:02:43 - Une Lavalloise se bat pour sortir son fils d'un foyer à Louvigné - Sylvie Téhard se bat pour sortir son fils d'un foyer de l'aide sociale à l'enfance à Louvigné (Mayenne). Son fils, Joud, 10 ans, est en danger, d'après cette maman. Elle témoigne sur ICI Mayenne ce mercredi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

¡Volvemos! En este repaso a la actualidad ciclista encontrarás: Análisis de la CRI masculina y femenina Previa de las pruebas de ruta Cerramos con El Pinganillo leyendo vuestros comentarios. 🗣️ Con Gabriele Gianuzzi, Eneko Carrillo, Álvaro García, Javi Aguilar y Albert Rivera. 📍 Encuéntranos en... ➡️ https://www.twitch.tv/acdpeloton ➡️https://youtube.es/ACDPeloton ➡️Grupo de Telegram: https://t.me/familiaACDP ➡️Twitter: twitter.com/ACDPeloton ➡️Instagram: https://www.instagram.com/acdpeloton/ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Dr. Lisa Chase was raised in Boco Raton, Florida. She did her undergraduate studies at the University of Florida and Florida Atlantic University. She earned her DVM from Tuskegee University in 2008.After graduation, she did a rotating internship in small animal medicine and surgery at a large specialty practice. Afterwards, she worked in small animal general practice and shelter medicine in Florida before she moved to Colorado. There she worked in general practice before starting her career in integrative medicine.Looking to add to her skill set, she earned her certificate in Veterinary Medical Acupuncture from CuraCore in 2017. She then took a position in a Rehabilitation practice and competed a certificate program in Canine Rehabilitation from the Canine Rehabilitation Institute in 2021.After completing her CRI program, she joined a Speciality Practice, where she does both Rehabilitation and Acupuncture.Please enjoy this conversation with Dr. Lisa Chase as we discuss her education, practice and teaching experience, and what she likes to do away from the clinic.

Quel est le point commun entre une prison étatsunienne, la mythologie grecque, un sport de plein air et un ancêtre de l'avion ? Réponse... l'Albatros ! La preuve en 4 fun facts :

Podcast: Hack the Plant (LS 35 · TOP 3% what is this?)Episode: Creating a Cyber Aware Culture for Local Water UtilitiesPub date: 2025-09-09Get Podcast Transcript →powered by Listen411 - fast audio-to-text and summarizationDeputy Managing Director at the Cyber Readiness Institute Lessie Skiba joins host Bryson Bort to discuss the CRI's new program connecting small- and medium-sized water utilities with cyber coaches to strengthen their resilience.What if the most effective cybersecurity solution isn't a new piece of technology, but a human connection? How can we empower small businesses to tackle cyber threats, even with limited resources? And if Lessie could wave a magic, air-gapped wand, what is one fundamental change she would make to our digital landscape?Join us for this and more on this episode of Hack the Plan[e]t. The views and opinions expressed in this podcast represent those of the speaker, and do not necessarily represent the views and opinions of their employers. Hack the Plant is brought to you by ICS Village and the Institute for Security and Technology. The podcast and artwork embedded on this page are from Bryson Bort, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc.

A VUELTA ESPAÑA 2025 está chegando ao fim, mas em dezembro tem o DESAFÍO BRASIL LA VUELTA, em Romeiros – SP.

durée : 00:04:12 - Pleurs et plumes au premier concours du cri de la goëmouette à Brest Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Un nouveau mensuel chrétien voit le jour : Le Cri. Fondé par Théo Moy et Paul Picaretta, ce magazine se veut à la fois "chrétien, joyeux et radical". Inspiré par le pontificat de François, il s'adresse à une génération de chrétiens désireux de conjuguer leur foi avec un engagement concret dans la société, notamment sur les questions d'écologie et de justice sociale. Théo Moy, ancien journaliste au quotidien La Croix et directeur de la rédaction du "Cri", revient sur la ligne éditoriale et le modèle économique de cette nouvelle revue.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Cri du coeur du Ruben’s Deli sur la rue Sainte-Catherine. Dépassement de coûts monstres au CHU de Québec. As-tu vu ça? avec Alexandre Moranville-Ouellet. Regardez aussi cette discussion en vidéo via https://www.qub.ca/videos ou en vous abonnant à QUB télé : https://www.tvaplus.ca/qub ou sur la chaîne YouTube QUB https://www.youtube.com/@qub_radio Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

On this episode of #TheGlobalExchange, Colin Robertson sits down with Dr. Meredith Lilly, Jonathan Fried and Thomas d'Aquino to discuss their new paper as members of The Canada-U.S. Expert Group, "Between the Eagle and the Dragon: Managing Canada-China Relations in a Shifting Geopolitical Reality". This paper is a collaboration between The Norman Paterson School of International Affairs at Carleton University, Canadian Global Affairs Institute, and The School of Public Policy at the University of Calgary. // Participants' bios - Dr. Meredith Lilly is Professor and Simon Reisman Chair in International Economic Policy at Carleton University's Norman Paterson School of International Affairs. - Jonathan Fried served as Canadian Ambassador to Japan and the WTO, and the personal representative of the Prime Minister for the G20 and deputy minister and coordinator for international economic relations on Canada-Asia and global trade and economic policy. - Thomas d'Aquino the founding CEO and president of what is now the Business Council of Canada. // Host bio: Colin Robertson is a former diplomat and Senior Advisor to the Canadian Global Affairs Institute. // Reading Recommendations: - "Between the Eagle and the Dragon: Managing Canada-China Relations in a Shifting Geopolitical Reality" by The Canada-U.S. Expert Group - On Tyranny: Twenty Lessons From The Twentieth Century by Timothy Snyder - The Crisis of Canadian Democracy by Andrew Coyne - "Andrew Coyne's ‘Cri de Coeur' for Canadian Democracy" by Thomas d'Aquino - The Third Revolution: Xi Jinping and the New Chinese State by Elizabeth C. Economy - Booze, Cigarettes, and Constitutional Dust-Ups: Canada's Quest for Interprovincial Free Trade by Ryan Manucha - Outrageous on Netflix // Music Credit: Drew Phillips | Producer: Jordyn Carroll // Recording Date: August 21, 2025 Release date: August 26, 2025

durée : 01:02:36 - Les Masterclasses - par : Mathilde Wagman - L'illustratrice et auteure américaine, Emil Ferris, de passage à Paris, évoque sa fascination pour les monstres et les récits d'horreur, une passion qu'on retrouve dans ses œuvres. - réalisation : Peire Legras - invités : Emil Ferris Illustratrice, dessinatrice, auteure de BD

https://ivdi.org/inv Ready to elevate your veterinary dentistry skills? Request an invitation to the Veterinary Dental Practitioner Program! -------------------------------- Host: Dr. Brett Beckman, Board Certified Veterinary Dentist In this episode of the Vet Dental Show, Annie Mills, LVT VTS (Dentistry), addresses common questions about electrosurgery for gingival hyperplasia, post-extraction protocols, and pain management, providing practical insights for veterinary professionals. What You'll Learn ✅ The dangers of using electrosurgery for gingival hyperplasia and why a scalpel is preferred. ✅ Proper charging protocols for post-extraction X-rays and regional blocks. ✅ The importance of blood clots in post-extraction sites and when to use hemostatic agents. ✅ Effective pain management strategies, including CRI protocols and take-home medications when NSAIDs are contraindicated. ✅ The limited benefits of fluoride treatments in veterinary dentistry. Key Takeaways ✅ Electrosurgery can cause significant tissue and bone damage due to heat, making a scalpel a safer option for gingival excisions. ✅ Always charge for each post-extraction X-ray and each quadrant receiving a regional block to ensure proper compensation for your services. ✅ A blood clot is the best bone graft for post-extraction sites; avoid routine use of hemostatic agents unless emergent bleeding occurs. ✅ Manage wind-up pain effectively with CRIs of buprenorphine and lidocaine (cats) or hydromorphone, lidocaine, and ketamine (dogs), along with appropriate loading doses. ✅ When NSAIDs are contraindicated, fentanyl and gabapentin can be a powerful combination for pain management. ---------------------------------- Don't miss out on the opportunity to become a leader in veterinary dentistry! Request your invitation to the Veterinary Dental Practitioner Program today: https://ivdi.org/inv What are your experiences with electrosurgery or post-extraction complications? Share your thoughts and questions in the comments below! --------------------------------- Keyword Tags Veterinary Dentistry, Electrosurgery, Gingival Hyperplasia, Tooth Extraction, Post-Extraction Care, Regional Blocks, Pain Management, Veterinary Anesthesia, IVDI, Brett Beckman, Veterinary Dental Practitioner Program, Veterinary Medicine, Dog, Cat, Oral Surgery, Dental Radiography, Hemostatic Agents, Wind-Up Pain, NSAIDs, Fentanyl, Gabapentin, Fluoride Treatments

CLIQUE AQUI SE VOCÊ GOSTARIA DE TRABALHAR NO MERCADO FINANCEIRO: https://finc.ly/53fd5cae8aNEWSLETTER DA FINCLASS - FIQUE BEM INFORMADO SOBRE O MERCADO FINANCEIRO: https://finc.ly/21326cea64Investir em FIIs de papel não é só olhar o rendimento. É entender a qualidade dos CRIs, o risco de crédito, a gestão e a estratégia por trás da carteira. O bom investidor não busca apenas retorno — busca segurança e consistência.EPISÓDIO: COMO ANALISAR UM BOM FUNDO IMOBILIÁRIO DE PAPEL (FIIs focados em CRIs) | Os Economistas 18300:00 - Apresentação dos Economistas Podcast: Felipe Arrais e Ricardo Figueiredo discutem fundos imobiliários05:00 - O segredo dos fundos de papel: Como se proteger da inflação e juros altos no mercado imobiliário10:00 - Vale a pena investir em CDI ou inflação? Estratégias da S Capital para carteiras de crédito15:00 - Como funciona o crédito pulverizado: Diversificação real vs concentração aparente nos relatórios20:00 - O que são garantias reais nos CRIs: Alienação fiduciária e proteção do investidor explicadas25:00 - Fundo de papel é renda fixa ou variável? Entenda a confusão do mercado e as oportunidades30:00 - Como evitar inadimplência em crédito imobiliário: Monitoramento e gestão de risco profissional35:00 - O perfil ideal para financiamento de obras: Critérios da S Capital para escolher incorporadores40:00 - Praças e tipos de imóveis: Como escolher localizações estratégicas para investir45:00 - Vale a pena pessoa física comprar CRI direto? Vantagens dos fundos vs investimento individual50:00 - O segredo da originação própria: Como gestores conseguem melhores taxas sem taxa de performance55:00 - Spreads de CRIs em 2024: Mercado mais atrativo para crédito imobiliário vs infraestrutura1:00:00 - Por que manter caixa é estratégia: Fluxo de desembolso em obras e gestão de liquidez1:05:00 - Coinvestimento em equity: Como ganhar IPCA + 20% sendo sócio de incorporadores1:10:00 - MP 1303 vai acabar com os FIIs? Análise sobre tributação de 5% nos dividendos1:15:00 - Onde encontrar a S Capital: Canais oficiais e produtos disponíveis para investidores

A massive peakmonster surfaces from the Deep. Donations, Merchandise, Newsletter, more: https://www.groovelectric.com Podrunner: Workout Music mixes: https://www.podrunner.com PLAYLIST 01. CRi, Daniel Belanger - Signal (Jean-Michel Blais Piano Version) 02. AudioStorm - Amazon Clouds (Loquai Remix) 03. Hermanez - Pressurizes 04. Nick Muir, John Digweed, Captain Mustache - Bleu Cobalt (Alican Remix) 05. AudioStorm - Alexander the Great (JJ Grant Remix) 06. Tali Freaks - Naked in the Rain (Dub Mix) 07. Marian (AR) - Obsidian 08. Mark Knight, Roland Clark, James Hurr - Get Deep (Extended Mix) 09. Amarone - Skyfall 10. Dave Seaman - Two by Two (Alican Remix) 11. Airwave - The World vs Spotify (Extended Mix) 12. Pagano - Equilibrium 13. Subterfuge - Fibonacci 14. Bazco - Gabarra 15. Braxton, Tailor - Everywhere (Extended Mix) 16. Sultan + Shepard - The Way (Extended Mix) 17. Moontricks, Will Evans - Only Human == Please support these artists == Music copyright the respective artists. All other material c2006, 2025 by Steve Boyett. For personal use only. All rights reserved. Any unauthorized copying editing, exhibition, sale, rental, exchange, public performance, or broadcast of this audio is prohibited. No part of Groovelectric or its website and associated content may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems.

Thank you Sandra Dingler, ITS Never Happening…, Mary B, CowboyHats, Greg Owens, and many others for tuning into my live video! Join me for my next live video in the app.* Assoc Dir of CRI at IPS, Bella DeVaan, discusses billionaire's failure to honor their commitments: Bella DeVaan, Assoc. Dir. of the Institute for Policy Studies' Charity Reform Initiative co-authored a report about billionaires' failure to honor the Giving Pledge. Wealth ills are examined. [More]* Activist Gion C. Thomas discusses organizing events to engage young voters: P.O.P. activist Gion C. Thomas appeared on Politics Done Right on KPFT 90.1 FM Houston to announce an activist/organizer workshop. His group works hard to recruit young voters. [More]* 18-year-old at Kingwood Rage Against The Regime protest challenges Trump's evil immigration stance: An 18-year-old young man at the Rage Against The Regime protest was initially hesitant to speak. As I interviewed his mother, he was triggered to push back on Trump's evil immigration policies. [More]* Is the Epstein story a distraction from the real issues and the oligarchy's move to end Trump?: America chose to elect a degenerate into the presidency again. The Epstein story does little to make Trump more despicable. Could it be the oligarchy's scheme to rid itself of a used-up Trump? [More] To hear more, visit egberto.substack.com

Assoc Dir of CRI at IPS, Bella DeVaan outs billionaire failure to honor Giving Pledge. Activist Gion C. Thomas discusses organizing event. !8-year-old kid gives me hope. Epstein is still a distraction.Subscribe to our Newsletter:https://politicsdoneright.com/newsletterPurchase our Books: As I See It: https://amzn.to/3XpvW5o How To Make AmericaUtopia: https://amzn.to/3VKVFnG It's Worth It: https://amzn.to/3VFByXP Lose Weight And BeFit Now: https://amzn.to/3xiQK3K Tribulations of anAfro-Latino Caribbean man: https://amzn.to/4c09rbE

durée : 00:29:36 - Solaé, le rendez-vous protestant - par : Jean-Luc Gadreau - Que ma joie demeure - réalisation : Vincent Abouchar - invités : Olivier Arnera Comédien; Robin Renucci Directeur du Théâtre national de Marseille, la Criée et fondateur de l'Aria, Centre culturel de Rencontre en milieu rural

God doesn't see time the way we do. While we live according to hours, deadlines, and a focus fixed on the future (chronos), God operates in kairos—sacred moments filled with purpose and a pursuit of being fully present. We can sanctify chronological time by living with eternity in mind—sensing God's presence in every moment.  In this episode, David Hanegraaff explores the importance of a proper theology of time—Kairos—as opposed to a human understanding of time—Chronos. Learning to trust God's timing can reshape our daily lives, reorient our expectations, and draw us deeper into communion with Him.  Let us learn to pray the following prayer: “Lord, stamp eternity on our eyes so we live every moment with Your will and purpose in mind. Help us to live not in the fantasy of past and future, but the reality of Your presence right here, right now. Amen.” This is the second talk given by David Hanegraaff for the Set Apart retreat for young adults at Gospel for Asia in Wills Point, Texas. Interested in serving with Gospel for Asia? Contact young@equip.org, and the CRI team will connect you with GFA. Listen to Hank's podcast and follow Hank off the grid where he is joined by some of the brightest minds discussing topics you care about. Get equipped to be a cultural change agent.Archived episodes are  on our Website and available at the additional channels listed below.You can help spread the word about Hank Unplugged by giving us a rating and review from the other channels we are listed on.

durée : 00:23:17 - Deleuze retrouvé : 16 leçons de philosophie - par : David Lapoujade - Dans les cours dispensés par Gilles Deleuze à l'Université Paris 8 pendant plus de quinze ans, il est largement question de la capacité philosophique à élaborer des concepts, mais aussi de la dimension nécessaire de la discipline. Pour lui, celle-ci s'apparente en effet à un cri de la pensée. - réalisation : Thomas Jost - invités : David Lapoujade professeur à l'université Paris-I Panthéon-Sorbonne

En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=5BleIch05ao En esta entrevista, Racel comparte una canalización recibida sobre el momento que atraviesa la humanidad y el planeta, y cómo afrontarlo desde la consciencia. Un mensaje profundo que será el punto de partida para abordar temas de transformación personal, despertar espiritual y sanación interior. Si estás atravesando cambios intensos, este mensaje puede resonar contigo. Racel Canalizador innato, con más de 15 años de experiencia como terapeuta. Con Energía Crística, ayuda en la sanación energética profunda, liberación de patrones ancestrales y la actualización de códigos del cuerpo, Alma y Ser. https://www.sanacioncanalizada.com / racel_canalizador / fabianserron.canalizador #Canalización #Espiritualidad #DesarrolloEspiritual Más información en: https://www.mindalia.com/television/ PARTICIPA CON TUS COMENTARIOS EN ESTE VÍDEO. -----------INFORMACIÓN SOBRE MINDALIA--------- Mindalia.com es una ONG internacional, sin ánimo de lucro, que difunde universalmente contenidos sobre espiritualidad y bienestar para la mejora de la consciencia del mundo. Apóyanos con tu donación en: https://www.mindalia.com/donar/ Suscríbete, comenta positivamente y comparte nuestros vídeos para difundir este conocimiento a miles de personas. Nuestro sitio web: https://www.mindalia.com SÍGUENOS TAMBIÉN EN NUESTRAS PLATAFORMAS Facebook: / mindalia.ayuda Instagram: / mindalia_com Twitch: / mindaliacom Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas.

Give to support Erica.  Buy a shirt by July 15! Give to Mozambique Trip : Put "Mozambique Ministry" in the first blank on the form.  Contact Erica at erica@childrensrelief.org   Erica grew up in the beautiful foothills of the Rockies, in Monument, Colorado. She attended Wheaton College in Illinois and received a degree in Elementary Education. During the summer between her junior and senior year of college, she went on her first overseas mission trip to South Africa. While holding dusty kids covered in rags and ministering to women with aids, her dream of becoming a missionary began. However, the journey to becoming a full-time missionary was not easy and included various setbacks and disappointments. Yet, God has shown Himself faithful and brought redemption to her journey through opening a door at CRI. Erica is honored and excited to help develop our various sponsorship programs so that more people living in deep poverty can experience the love of Christ.   Love, Brittany    Ready to become a peaceful wife and Mama? Sign Up for the Pain to Peace Academy HERE. Come say hi and join the Morning Mama Facebook Group! I would love to hear your story and know your name.    ALL THE LINKS FOR ALL THE THINGS! Morning Mama Website Pain to Peace Academy Morning Mama Facebook Group Follow Us on Instagram Find a Restoration Therapist Come say hi by emailing hello@morningmamapodcast.com

Have you ever felt like the least qualified person in the room? David Hanegraaff discusses what it is like growing up as the son of the “Bible Answer Man” and how he does his best to say yes to the call of the Lord even when he feels unqualified. David has learned to overcome self-doubt by trusting the Lord and taking those leaps of faith—because when God calls you, he equips you.  Recorded during a talk at the Set Apart retreat for young adults at Gospel for Asia in Wills Point, Texas, this candid presentation by David Hanegraaff offers encouragement for anyone seeking to follow God's will for their life. Interested in serving with Gospel for Asia? Contact young@equip.org, and the CRI team will connect you with GFA.Listen to Hank's podcast and follow Hank off the grid where he is joined by some of the brightest minds discussing topics you care about. Get equipped to be a cultural change agent.Archived episodes are  on our Website and available at the additional channels listed below.You can help spread the word about Hank Unplugged by giving us a rating and review from the other channels we are listed on.

Cea de-a VII-a ediție a Festivalului SoNoRo Musikland a inceput pe 4 iulie la Sibiu si ajunge anul acesta in Copșa Mare, Cincu, Saschiz, Meșendorf, Criț, Viscri, Codlea, Făgăraș și Brașov. Am stat de vorba cu cativa dintre muzicienii festivalului.

📌 ¡Las Claves del #TDF2025 y BADA GIRO @girowomen con @LABORALkTeam! 🇫🇷 Etapa 5⃣ Pogacar hace daño en la CRI dominada por Remco (min 13) 🇮🇹 Etapa 4⃣ Tomasi y el final en alto 🗣️ Con @AlbertRiveraR 📍 Encuéntranos en... ➡️ https://www.twitch.tv/acdpeloton ➡️Grupo de Telegram: https://t.me/familiaACDP ➡️Twitter: twitter.com/ACDPeloton ➡️Instagram: https://www.instagram.com/acdpeloton/ ➡️Strava: https://www.strava.com/clubs/ACDpeloton Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

On today's Bible Answer Man broadcast (06/30/25), Hank reads a testimony from a listener whose life was changed by our ministry. Hank encourages listeners to support the ministry of CRI during our fiscal year-end to ensure that Gospel truth delivered on the Bible Answer Man broadcast continues to change lives now and for eternity.Hank also answers the following questions:What is your opinion of Beth Moore? Leslie - Houston, TX (2:05)What verse in the Bible proves that Mormonism is false? Ray - Herriman, UT (3:09)What are your thoughts on Steve Brown and Key Life Ministries? Mike - Shreveport, LA (7:47)Matthew 8:28 mentions two demon-possessed men, but the other Gospels say there was one. How do we resolve this? Jeremy - Stillwater, OK (15:44)If God is in control, why is the world so chaotic? Stephen - Fort Worth, TX (19:06)Is homosexuality similar to alcoholism? Can one say, “I'm a recovering homosexual”? Michelle - Fayetteville, AR (21:14)How can I address an atheist who says there's not enough evidence for God's existence? Al - Washington, DC (23:53)

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

O mercado ainda respira os impactos dos anúncios do Ministério da Fazenda. Após recuar em parte do decreto que aumentou as alíquotas do IOF, a posterior medida provisória 1.303/25 determinou a incidência de Imposto de Renda em 5% para emissões de títulos até então considerados isentos, como a Letra de Crédito Agrícola (LCA), a Letra de Crédito Imobiliário (LCI), Certificado de Recebível Imobiliário (CRI), Certificado de Recebível do Agronegócio (CRA) e debêntures incentivadas.E diante de um cenário cada vez mais desafiador, o episódio 162 do Outliers InfoMoney traz gigantes do crédito privado para entender novas maneiras de aproveitar as oportunidades. Em mais um episódio da série que explora o cenário macroeconômico, Clara Sodré e Fabiano Cintra recebem Fayga Delbem, gestora de crédito da Itaú Asset e Ana Rodela, CIO da Bradesco Asset. No bate-papo, as executivas ainda discutem sobre a perspectiva do Brasil em relação a outros países e a expectativa para a reunião do COPOM, cujos resultados serão divulgados na próxima quarta (18) e podem alterar a trajetória da taxa de juros, a Selic.

The cybersecurity landscape is changing fast. And for financial institutions, one of the biggest shifts on the horizon is the sunsetting of the FFIEC Cybersecurity Assessment Tool (CAT) in August 2025. In this episode of the Risk Intel podcast, Josh Magri, President and CEO of the Cyber Risk Institute (CRI), joined host Edward Vincent to unpack what this means for banks, credit unions, and other financial players.From emerging threats powered by AI to the evolving regulatory frameworks shaping cybersecurity governance, Josh's insights are a must-hear. Listen to the full episode here!Follow us to stay in the know!

00:00 Acabou a isenção da renda fixa00:56 Quem é Rob Correa01:08 O que você vai aprender hoje01:23 Renda fixa é vaca leiteira 01:55 O que mudou na prática02:09 Investimentos que serão taxados (LCI, LCA, CRI, CRA, debêntures)02:27 Como será a nova tributação02:46 Quem será afetado pelo novo imposto03:18 O que está acontecendo no Brasil04:54 Quanto o governo vai arrecadar com isso05:56 O ciclo vicioso da tributação no Brasil07:20 O que fazer agora08:07 Conclusão e como a RC Wealth pode te ajudar

Parker Bowles and Derek Williamson from cleanrefineries.com and their mission developing and building for the future of energy and clean hydrocarbon processing. From cleanrefineries.com - THE FUTURE OF HYDROCARBON PROCESSING IS HERE . . . Discover a greener, cleaner future where production is not only efficient, but also environmentally sustainable. CRI develops and markets an innovative, highly disruptive, and patented hydrocarbon processing technology. This technology is used to manufacture high margin products like asphalt, naphtha, kerosene, diesel, gasoline, aviation fuel, etc. all with net-zero greenhouse gas emissions as well as net-zero carbon dioxide. OUR TECHNOLOGY NET-ZERO EMISSIONS, INFINITE POSSIBILITIES. NET-ZERO GREENHOUSE GAS EMISSIONS & NET-ZERO CARBON DIOXIDE Our patented technology, which has been in production since 2017, surpasses government emissions regulations by generating net-zero greenhouse gas emissions and net-zero carbon dioxide. This qualifies our project for federal and state funding, grants and tax credits through the Infrastructure Act, US Department of Energy, Green Road Initiatives, Pace Program, and more. SUSTAINABLE SOLUTIONS FOR A HUGE INFRASTRUCTURE NEED CRI addresses the growing demand for low carbon transportation materials by meeting the needs of highway infrastructure projects. With traditional processing facilities closing worldwide, we are positioned to provide critical products like asphalt to bridge the supply gap, particularly in the US. The massive shortage of asphalt in the country presents a significant opportunity for expansion. WHY CRI? FUELING THE FUTURE, RESPONSIBLY. CRI • 3,400 – 100,000+ BPD capacity • Net-zero greenhouse gas emissions • Closed loop system efficiently recycling process gas + lower temperature / pressure system = lower energy consumption and operating costs • Feedstock flexibility to meet desired output mix • Modular facility operates on small footprint. Easier permitting process and $75 - $150 million upfront capital expenditures enables 12 month construction TRADITIONAL REFINERIES • 150,000+ BPD capacity • Difficult / impossible new construction permitting due to political / regulatory environment • Notorious emitter of greenhouse gases and toxic greenhouse gases • Large footprint for new, large capacity refinery requiring $5 billion capital investment and 5 – 7 year construction • High operating costs, using expensive catalysts • Closures gradually shrinking universe of large scale US refineries CRI possesses a distinctive technology capable of converting hydrocarbons into fuels and asphalt binder, all while avoiding the emission of greenhouse gases. This well-proven technology has undergone over five years of successful commercial-scale operation. It has the capacity to produce a diverse range of fuels and asphalt binder, which are crucial components for meeting the infrastructure requirements of the United States. Our objective is to implement this processing technology through our direct investment and by licensing it to potential partners. Thanks to Josh McCollom, Pharaoh Energy Services and The Office OKC GO TO oilfieldtailgate.com to sponsor and use the calendar Check out more on talkingenergyshow.com too. #energy #oilgas #networking #education #policy #law #leadership #hydrocarbons #fossilfuels #humanflourishing #news #humor #entertainment #vlog #podcast #technology #engineering #lng #cng #fuel #electricity #naturalresources #environment #science #data #crypto #microgrid #power #naturalgas #nuclear #wind #solar #oilfield #oilandgas

Today at 11:11 am CST, on the Flyover Conservatives show we are tackling the most important things going on RIGHT NOW from a Conservative Christian perspective!  Today at 11:11 am CST, on the Flyover Conservatives show we are tackling the most important things going on RIGHT NOW from a Conservative Christian perspective!  TO WATCH ALL FLYOVER CONSERVATIVES SHOWS - https://flyover.live/show/flyoverTO WATCH ALL FLYOVER CONSERVATIVES SHOWS - https://flyover.live/show/flyoverTO WATCH ALL FLYOVER CONTENT: www.flyover.liveTO WATCH ALL FLYOVER CONTENT: www.flyover.liveTo Schedule A Time To Talk To Dr. Dr. Kirk Elliott Go To To Schedule A Time To Talk To Dr. Dr. Kirk Elliott Go To ▶ https://flyovergold.com▶ https://flyovergold.comOr Call 720-605-3900 Or Call 720-605-3900 ► Receive your FREE 52 Date Night Ideas Playbook to make date night more exciting, go to www.prosperousmarriage.com► Receive your FREE 52 Date Night Ideas Playbook to make date night more exciting, go to www.prosperousmarriage.comwww.prosperousmarriage.comKaren EnglandKaren EnglandWEBSITE: https://takebacktheclassroom.com/WEBSITE: https://takebacktheclassroom.com/https://takebacktheclassroom.com/Karen England began her journey as a homeschooling mother with an unwavering curiosity to comprehend how our culture has changed and why. Her faith and concern lead her into citizen lobbying, advocacy and volunteering for Concerned Women for America and Eagle Forum. Now 27 years later, as President of California-based Capital Resource Institute, Karen is eager to provide you with effective steps for creating change at the local level. For 35 years, CRI has operated as a public policy organization supporting states nationwide, focusSend us a message... we can't reply, but we read them all!Support the show► ReAwaken America- text the word FLYOVER to 918-851-0102 (Message and data rates may apply. Terms/privacy: 40509-info.com) ► Kirk Elliott PHD - http://FlyoverGold.com ► My Pillow - https://MyPillow.com/Flyover ► ALL LINKS: https://sociatap.com/FlyoverConservatives

We love to hear from our listeners. Send us a message.In this episode of the Cell & Gene podcast, Host Erin Harris speaks with Alicia Zhou, Ph.D., CEO of the Cancer Research Institute (CRI), about CRI's mission to advance cancer immunotherapy and the critical role of federal funding, particularly from the NIH, in supporting basic and translational cancer research. Dr. Zhou highlights CRI's focus on funding early-stage science and clinical trials to move immunotherapy toward curing all cancers. She covers the serious implications of recent U.S. Government funding cuts, including NIH budget freezes and halted grant review processes, which are already impacting biomedical research institutions, graduate programs, and clinical trials. In light of the NIH budget cuts, Dr. Zhou explains how CRI is stepping up by committing an additional $2.5 million from its reserves to fund 10 postdoctoral fellowships.Subscribe to the podcast!Apple | Spotify | YouTube

  Lyssa Rome is a speech-language pathologist in the San Francisco Bay Area. She is on staff at the Aphasia Center of California, where she facilitates groups for people with aphasia and their care partners. She owns an LPAA-focused private practice and specializes in working with people with aphasia, dysarthria, and other neurogenic conditions. She has worked in acute hospital, skilled nursing, and continuum of care settings. Prior to becoming an SLP, Lyssa was a public radio journalist, editor, and podcast producer. In this episode, Lyssa Rome interviews Dr. Suma Devanga about collaborative referencing, gesture, and building rich communicative environments for people with aphasia.   Guest info Dr. Suma Devanga is an assistant professor in the Department of Communication Disorders and Sciences at Rush University Medical Center, Chicago, where she also serves as the director of the Aphasia Research Lab. She completed her PhD in Speech and Hearing science from the University of Illinois. Urbana Champaign in 2017. Dr. Devanga is interested in studying aphasia interventions and their impacts on people's everyday communication. Her recent work includes investigating a novel treatment called the Collaborative Referencing Intervention for Individuals with aphasia, using discourse analysis methods and patient reported outcome measures, studying group-based treatments for aphasia, and studying the use of gestures in aphasia. Additionally, she is involved in teaching courses on aphasia and cognitive communication disorders to graduate SLP students at Rush. She also provides direct patient care and graduate clinical supervision at Rush outpatient clinics.   Listener Take-aways In today's episode you will: Understand the role of collaborative referencing in everyday communication. Learn about Collaborative Referencing Intervention. Describe how speech-language pathologists can create rich communicative environments.   Edited transcript   Lyssa Rome Welcome to the Aphasia Access Aphasia Conversations Podcast. I'm Lyssa Rome. I'm a speech language pathologist on staff at the Aphasia Center of California, and I see clients with aphasia and other neurogenic communication disorders in my LPAA-focused private practice. I'm also a member of the Aphasia Access podcast Working Group. Aphasia Access strives to provide members with information, inspiration, and ideas that support their aphasia care through a variety of educational materials and resources.   I'm today's host for an episode that will feature Dr. Suma Devanga, who is selected as a 2024 Tavistock Trust for Aphasia Distinguished Scholar, USA and Canada. In this episode, we'll be discussing Dr. Devanga's research on collaborative referencing, gesture, and building rich communicative environments for people with aphasia.   Suma Devanga is an assistant professor in the Department of Communication Disorders and Sciences at Rush University Medical Center, Chicago, where she also serves as the director of the Aphasia Research Lab. She completed her PhD in Speech and Hearing science from the University of Illinois. Urbana Champaign in 2017. Dr. Devanga is interested in studying aphasia interventions and their impacts on people's everyday communication. Her recent work includes investigating a novel treatment called the Collaborative Referencing Intervention for Individuals with aphasia, using discourse analysis methods and patient reported outcome measures, studying group-based treatments for aphasia, and studying the use of gestures in aphasia. Additionally, she is involved in teaching courses on aphasia and cognitive communication disorders to graduate SLP students at Rush. She also provides direct patient care and graduate clinical supervision at Rush outpatient clinics. Suma Devanga, thank you so much for joining us today. I'm really happy to be talking with you.   Suma Devanga Thank you, Lyssa, thank you for having me. And I would also like to thank Aphasia Access for this wonderful opportunity, and the Tavistock Trust for Aphasia and the Duchess of Bedford for recognizing my research through the Distinguished Scholar Award.   Lyssa Rome So I wanted to start by asking you how you became interested in aphasia treatment.   Suma Devanga I became interested in aphasia during my undergraduate and graduate programs, which was in speech language pathology in Mysore in India. I was really drawn to this population because of how severe the consequences were for these individuals and their families after the onset of aphasia. So I met hundreds of patients and families with aphasia who were really devastated by this sudden condition, and they were typically left with no job and little means to communicate with family and friends. So as a student clinician, I was very, very motivated to help these individuals in therapy, but when I started implementing the treatment methods that I had learned, what I discovered was that my patients were showing improvements on the tasks that we worked on in therapy. Their scores on clinical tasks also were improving, but none of that really mattered to them. What they really wanted was to be able to easily communicate with family, but they continued to struggle on that, and none of the cutting-edge treatment methods that I learned from this highly reputable program in India were impacting my patients' lives.   So I really felt lost, and that is when I knew that I wanted to do a PhD and study this topic more closely, and I was drawn to Dr. Julie Hengst's work, which looked at the bigger picture in aphasia. She used novel theoretical frameworks and used discourse analysis methods for tracking patient performance, as opposed to clinical tests. So I applied to the University of Illinois PhD program, and I'm so glad that she took me on as her doctoral student. And so that is how I ended up moving from India to the US and started my work in aphasia.   Lyssa Rome I think that a lot of us can probably relate to what you're describing—that just that feeling of frustration when a patient might improve on some sort of clinical tasks, but still says this is not helping me in my life, and I know that for me, and I think for others, that is what has drawn us to the LPAA.   I wanted to sort of dive into your research by asking you a little bit more about rich communicative environments, and what you mean by that, and what you mean when you talk about or write about distributed communication frameworks.   Suma Devanga So since I started my PhD, I have been interested in understanding how we can positively impact everyday communication for our patients with aphasia. As a doctoral student, I delved more deeply into the aphasia literature and realized that what I observed clinically with my patients in India was consistent with what was documented in the literature, and that was called the clinical-functional gap. And this really refers to the fact that we have many evidence-based aphasia treatments that do show improvements on clinical tasks or standardized tests, but there is very limited evidence on these treatments improving the functional use of language or the everyday communication, and this remains to be true even today.   So I think it becomes pretty important to understand what we are dealing with, like what is everyday communication? And I think many aphasia treatments have been studying everyday communication or conversational interactions by decontextualizing them or reducing them into component parts, like single words or phrases, and then we work our way up to sentence structures. Right? So this approach has been criticized by some researchers like Clark, who is an experimental psychologist, and he called such tasks as in vacuo, meaning that they are not really capturing the complexity of conversational interactions. So basically, even though we are clinicians, our ultimate goal is improving everyday communication, which is rich and emergent and complex, we somehow seem to be using tasks that are simplified and that removes all of these complexities and focuses more on simple or specific linguistic structures. So to understand the complexities of everyday communication, we have shifted to the distributed communication framework, which really originates from the cultural historical activity theories and theories from linguistic anthropology.   Dr. Julie Hengst actually proposed the distributed communication theory in her article in the Journal of Communication Disorders in 2015, which highlights that communication is not just an individual skill or a discrete concept, but it is rather distributed. And it is distributed in three ways: One is that it is distributed across various resources. We communicate using multiple resources, not just language. We sign, we use gestures, or facial expressions. We also interpret messages using such resources like dialects and eye gaze and posture, the social context, cultural backgrounds, the emotional states that we are in, and all of that matters. And we all know this, right? This is not new, and yet, we often give credit to language alone for communication, when in reality, we constantly use multiple resources. And the other key concept of distributed communication theory is that communication is embedded in socio- cultural activities. So depending on the activity, which can be a routine family dinnertime conversation or managing relationships with your co workers, the communicative resources that you use, their motives, and the way you would organize it, all of that would vary. And finally, communication is distributed across time. And by that we mean that people interpret and understand present interactions through the histories that they have experienced over time. For example, if you're at work and your manager says you might want to double check your reports before submitting them based on prior interactions with the manager and the histories you've shared with them, you could interpret that message either as a simple suggestion or that there is a lack of trust in your work. So all in all, communication, I think, is a joint activity, and I think we should view it as a joint activity, and it depends on people's ability to build common ground with one another and draw from that common ground to interpret each other's messages.   Lyssa Rome I feel like that framework is really helpful, and it makes a lot of sense, especially as a way of thinking about the complexity of language and the complexity of what we're trying to do when we are taking a more top-down approach. So that's the distributed communication theory. And it sounds like the other framework that has really guided your research is rich communicative environments. And I'm wondering if you could say a little bit more about that.   Suma Devanga Absolutely. So this work originates from about 80 years of research in neuroscience, where rodents and other animals with acquired brain injuries showed greater neuroplastic changes and improved functions when they were housed in complex environments. In fact, complex environments are considered to be the most well replicated approach to improve function in animal models of acquired brain injury.   So Dr. Julie Hengst, Dr. Melissa Duff, and Dr. Theresa Jones translated these findings to support communication for humans with acquired brain injuries. And they called it the rich communicative environments. The main goal of this is to enrich the clinical environments. And how we achieve that is by ensuring that there is meaningful complexity in our clinical environments, and that you do that by ensuring that our patients, families, and clinicians use multimodal resources, and also to aim for having multiple communication partners within your sessions who can fluidly shift between various communicative roles, and to not just stay in that clinician role, for example.   Another way to think about enriching clinical environments is to think about ensuring that there is voluntary engagement from our patients, and you do that by essentially designing personally meaningful activities, rather than focusing on rehearsing fixed linguistic form or having some predetermined goals.   And the other piece of the enrichment is, how do we ensure there is a positive experiential quality for our patients within our sessions. And for this rather than using clinician-controlled activities with rigid interactional roles, providing opportunities for the patients to share stories and humor would really, you know, ensure that they are also engaging with the tasks with you and having some fun. So all of this put together would lead to a rich communicative environment.   Lyssa Rome It sounds like what you're describing is the kind of speech therapy environment and relationship that is very much person-centered and focused on natural communication, or natural communicative contexts and the kinds of conversations that people have in their everyday lives, rather than more sort of strict speech therapy protocol that might have been more traditional. I also want to ask you to describe collaborative referencing and collaborative referencing intervention.   Suma Devanga Yes, absolutely. So traditionally, our discipline has viewed word-finding or naming as a neurolinguistic process where you access semantic meanings from a lexicon, which you use to generate verbal references. And that theoretical account conceptualizes referencing as an isolated process, where one individual has the skill of retrieving target references from their stores of linguistic forms and meanings, right? So in contrast to that, the distributed communication perspective views referencing as a process where speakers' meanings are constructed within each interaction, and that is based on the shared histories of experiences with specific communication partners and also depending on the social and physical contexts of the interaction as well.   Now this process of collaborative referencing is something that we all do every single day. It is not just a part of our everyday communication, but without collaborative referencing, you cannot really have a conversation with anyone. You need to have some alignment, some common ground for communicating with others. This is a fundamental feature of human communication, and this is not new. You know, there is lots of work being done on this, even in childhood language literature as well.   Collaborative referencing was formally studied by Clark, who is the experimental psychologist. And he studied this in healthy college students, and he used a barrier task experiment for it. So a pair of students sat across from each other with a full barrier that separated them so they could not see each other at all, and each student had a board that was numbered one through 12, and they were given matching sets of 12 pictures of abstract shapes called tangrams. One participant was assigned as the director, who arranged the cards on their playing board and described their locations to the other, who served as the matcher and matched the pictures to their locations on their own board. So the pair completed six trials with alternating turns, and they use the same cards with new locations for each trial. And what they found was that the pairs had to really collaborate with each other to get those descriptions correct so that they are placed correctly on the boards.   So in the initial trials, the pairs had multiple turns of back and forth trying to describe these abstract shapes. For example, one of the pictures was initially described as “This picture that looks like an angel or something with its arms wide open.” And there had to be several clarifying questions from the partner, and then eventually, after playing with this picture several times, the player just had to say “It's the angel,” and the partner would be able to know which picture that was so as the pairs built their common ground, the collaborative effort, or the time taken to complete each trial, and the number of words they used and the number of turns they took to communicate about those pictures declined over time, and the labels itself, or the descriptions of pictures, also became more streamlined as the as time went by.   So Hengst and colleagues wanted to study this experiment in aphasia, TBI, amnesia, and Alzheimer's disease as well. So they adapted this task to better serve this population and also to align with the distributed communication framework. And surprisingly, they found consistent results that despite aphasia or other neurological conditions, people were still able to successfully reference, decrease collaborative effort over time and even streamline their references. But more surprisingly, people were engaged with one another. They were having really rich conversations about these pictures. They were sharing jokes, and really seemed to be enjoying the task itself.   So Hengst and colleagues realized that this has a lot of potential, and they redesigned the barrier task experiment as a clinical treatment using the principles of the distributed communication framework and the rich communicative environment. So that redesign included replacing the full barrier with a partial barrier to allow multimodal communication, and using personal photos of the patients instead of the abstract shapes to make it more engaging for the patients, and also asking participants to treat this as a friendly game and to have fun. So that is the referencing itself and the research on collaborative referencing, and that is how it was adapted as a treatment as well.   And in order to help clinicians easily implement this treatment, I have used the RTSS framework, which is the rehabilitation treatment specification system, to explain how CRI works and how it can be implemented. And this is actually published, and it just came out in the most recent issue in the American Journal of Speech Language Pathology, which I'm happy to share.   Lyssa Rome And we'll put that link into the show notes.   Suma Devanga Perfect. So CRI is designed around meaningful activities like the game that authentically provides repeated opportunities for the client and the clinician to engage in the collaborative referencing process around targets that they really want to be talking about, things that are relevant to patients, everyday communication goals, it could be things, objects of interest, and not really specific words or referencing forms.   So the implementation of the CRI involves three key ingredients. One is jointly developing the referencing targets and compiling the images so clinicians would sit down with the patients and the families to identify at least 30 targets that are meaningful and important to be included in the treatment. And we need two perspectives, or two views, or two pictures related to the same target that needs to be included in the treatment. So we will have 60 pictures overall. An example is two pictures from their wedding might be an important target for patients to be able to talk about. Two pictures from a Christmas party, you know, things like that. So this process of compilation of photos is also a part of the treatment itself, because it gives the patients an opportunity to engage with the targets.   The second ingredient is engaging in the friendly gameplay itself. And the key really here is the gameplay and to treat it as a gameplay. And this includes 15 sessions with six trials in each session, where you, as the clinician and the client will both have matching sets of 12 pictures, and there is a low barrier in between, so you cannot see each other's boards, but you can still see the other person. So you will both take turns being the director and the matcher six times, and describe and match the pictures to their locations, and that is just the game. The only rule of the game is that you cannot look over the barrier. You are encouraged to talk as much as you like about the pictures. In fact, you are encouraged to talk a lot about the pictures and communicate in any way.   The third ingredient is discussing and reflecting on referencing. And this happens at the end of each session where patients are asked to think back and reflect and say what the agreed upon label was for each card. And this, again, gives one more opportunity for the patients to engage with the target.   The therapeutic mechanism, or the mechanism of action, as RTSS likes to call it, is the rich communicative environment itself, you know, and how complex the task is, and how meaningful and engaging the task has to be, as well as the repeated engagement in the gameplay, because we are doing this six times in each session, and we are repeatedly engaging with those targets when describing them and placing them.   So what we are really targeting with CRI is collaborative referencing and again, this does not refer to the patient's abilities to access or retrieve those words from their stores. Instead, we are targeting people's joint efforts in communicating about these targets, their efforts in building situated common ground. That's what we are targeting. We are targeting their alignment with one another, and so that is how we define referencing. And again, we are targeting this, because that is how you communicate every day.   Lyssa Rome That sounds like a really fascinating and very rich intervention. And I'm wondering if you can tell us a little bit about the research that you've done on it so far.   Suma Devanga Absolutely. So in terms of research on CRI thus far, we have completed phase one with small case studies that were all successful, and my PhD dissertation was the first phase two study, where we introduced an experimental control by using a multiple-probe, single-case experimental design on four people with aphasia, and we found significant results on naming. And since then, I have completed two replication studies in a total of nine participants with aphasia. And we have found consistent results on naming. In terms of impact on everyday interactions, we have found decreased trouble sources, or communicative breakdowns, you can call it, and also decreased repairs, both of which indicated improved communicative success within conversational interactions. So we are positive, and we plan to continue this research to study its efficacy within a clinical trial.   Lyssa Rome That's very encouraging. So how can clinicians target collaborative referencing by creating a rich communicative environment?   Suma Devanga Yeah, well, CRI is one approach that clinicians can use, and I'm happy to share the evidence we have this far, and there is more to come, hopefully soon, including some clinical implementation studies that clinicians can use. But there are many other ways of creating rich communicative environments and targeting referencing within clinical sessions. I think many skilled clinicians are already doing it in the form of relationship building, by listening closely to their patients, engaging with them in authentic conversations, and also during education and counseling sessions as well.   In addition to that, I think group treatment for aphasia is another great opportunity for targeting collaborative referencing within a rich communicative environment. When I was a faculty at Western Michigan University, I was involved in their outpatient aphasia program, where they have aphasia groups, and patients got to select which groups they want to participate in. They had a cooking group, a music group, a technology group, and so on. And I'm guessing you do this too at the Aphasia Center of California. So these groups definitely create rich communicative environments, and people collaborate with each other and do a lot of referencing as well. So I think there is a lot that can be done if you understand the rich communicative environment piece.   Lyssa Rome Absolutely. That really rings true to me. So often in these podcast interviews, we ask people about aha moments, and I'm wondering if you have one that you wanted to share with us.   Suma Devanga Sure. So you know how I said that getting the pictures for the CRI is a joint activity? Patients typically select things that they really want to talk about, like their kids' graduation pictures, or things that they are really passionate about, like pictures of their sports cars, or vegetable gardens, and so on. And they also come up with really unique names for them as well, while they are playing with those pictures during the treatment. And when we start playing the game, clinicians usually have little knowledge about these images, because they're all really personal to the patients, and they're taken from their personal lives, so they end up being the novices, while the patients become the experts. And my patients have taught me so much about constructing a house and all about engines of cars and things like that that I had no knowledge about. But in one incident, when I was the clinician paired with an individual with anomic aphasia, there was a picture of a building that she could not recognize, and hence she could not tell me much at all. And we went back and forth several times, and we finally ended up calling it the “unknown building.” Later, I checked my notes and realized that it was where she worked, and it was probably a different angle, perhaps, which is why she could not recognize it. But even with that new information, we continue to call it the “unknown building,” because it became sort of an internal joke for us. And later I kept thinking if I had made a mistake and if we should have accurately labeled it. That is when it clicked for me that CRI is not about producing accurate labels, it is about building a common ground with each other, which would help you successfully communicate with that person. So you're targeting the process of referencing and not the reference itself, because you want your patients to get better at the process of referencing in their everyday communication. And so that was my aha moment.   Lyssa Rome Yeah, that's an amazing story, because I think that that gets to that question sort of of the why behind what we're doing, right? Is it to say the specific name? I mean, obviously for some people, yes, sometimes it is. But what is underlying that? It's to be able to communicate about the things that are important to people. I also wanted to ask you about another area that you've studied, which is the use of gesture within aphasia interventions. Can you tell us a little bit more about that?   Suma Devanga Yes. So this work started with my collaboration with my friend and colleague, Dr. Mili Mathew, who is at Molloy University in New York, and our first work was on examining the role of hand gestures in collaborative referencing in a participant who had severe Wernicke's aphasia, and he frequently used extensive gestures to communicate. So when he started with CRI his descriptions of the images were truly multimodal. For example, when he had to describe a picture of a family vacation in Cancun, he was, you know, he was verbose, and there was very little meaningful content that was relevant in his spoken language utterances. But he used a variety of iconic hand gestures that were very meaningful and helpful to identify what he was referring to. As the sessions went on with him, his gestural references also became streamlined, just like the verbal references do, and that we saw in other studies. And that was fascinating because it indicated that gestures do play a big role in the meaning-making process of referencing.   And in another study on the same participant, we explored the use of hand gestures as treatment outcome measures. This time, we specifically analyzed gestures used within conversations at baseline treatment, probe, and maintenance phases of the study. And we found that the frequency of referential gestures, which are gestures that add meaning, that have some kind of iconics associated with them, those frequencies of gestures decreased with the onset of treatment, whereas the correct information units, or CIUS, which indicate the informativeness in the spoken language itself, increased. So this pattern of decrease in hand gestures and increase in CIUS was also a great finding. Even though this was just an exploratory study, it indicates that gestures may be included as outcome measures, in addition to verbal measures, which we usually tend to rely more on. And we have a few more studies coming up that are looking at the synchrony of gestures with spoken language in aphasia, but I think we still have a lot more to learn about gestures in aphasia.   Lyssa Rome It seems like there that studying gestures really ties in to CRI and the rich communicative environments that you were describing earlier, where the goal is not just to verbally name one thing, but rather to get your point across, where, obviously, gesture is also quite useful. So I look forward to reading more of your research on that as it comes out. Tell us about what you're currently working on, what's coming next.   Suma Devanga Currently, I am wrapping up my clinical research grant from the ASH Foundation, which was a replication study of the phase two CRI so we collected data from six participants with chronic aphasia using a multiple-probe, single-case design, and that showed positive results on naming, and there was improved scores on patient reports of communication confidence, communicative participation, and quality of life as well. We are currently analyzing the conversation samples to study the treatment effects.   I also just submitted a grant proposal to extend the study on participants with different severities of aphasia as well. So we are getting all the preliminary data at this point that we need to be able to start a clinical trial, which will be my next step.   So apart from that, I was also able to redesign the CRI and adapt it as a group-based treatment with three participants with aphasia and one clinician in a group. I actually completed a feasibility study of it, which was successful, and I presented that at ASHA in 2023. And I'm currently writing it up for publication, and I also just secured an internal grant to launch a pilot study of the group CRI to investigate the effects of group CRI on communication and quality of life.   Lyssa Rome Well, that's really exciting. And again, I'm really looking forward to reading additional work as it comes out. As we wrap up. What do you want clinicians to take away from your work and to take away from this conversation we've had today?   Suma Devanga Well, I would want clinicians to reflect on how their sessions are going and think about how to incorporate the principles of rich communicative environments so that they can add more meaningful complexity to their treatment activities and also ensure that their patients are truly engaging with the tasks and also having some fun. And I would also tell the clinicians that we have strong findings so far on CRI with both fluent and non-fluent aphasia types. So please stay tuned and reach out to me if you have questions or want to share your experiences about implementing this with your own patients, because I would love to hear that.   Lyssa Rome Dr. Suma Devanga, it has been great talking to you and hearing about your work. Thank you so much for sharing it with us.   Suma Devanga It was fantastic talking about my work. Thank you for giving me this platform to share my work with you all. And thank you, Lyssa for being a great listener.   Lyssa Rome Thanks also to our listeners for the references and resources mentioned in today's show. Please see our show notes. They're available on our website, www.aphasiaaccess.org. There, you can also become a member of our organization, browse our growing library of materials, and find out about the Aphasia Access Academy. If you have an idea for a future podcast episode, email us at info@aphasiaaccess.org. Thanks again for your ongoing support of aphasia. Access. For Aphasia Access Conversations. I'm Lyssa Rome.       References   Devanga, S. R. (2025). Collaborative Referencing Intervention (CRI) in Aphasia: A replication and extension of the Phase II efficacy study. American Journal of Speech-Language Pathology. Advance online publication. https://doi.org/10.1044/2024_AJSLP-24-00226   Devanga, S. R., Sherrill, M., & Hengst, J. A. (2021). The efficacy of collaborative referencing intervention in chronic aphasia: A mixed methods study. American Journal of Speech Language Pathology, 30(1S), 407-424. https://doi.org/10.1044/2020_AJSLP-19-00108    Hengst, J. A., Duff, M. C., & Jones, T. A. (2019). Enriching communicative environments: Leveraging advances in neuroplasticity for improving outcomes in neurogenic communication disorders. American Journal of Speech-Language Pathology, 28(1S), 216–229. https://doi.org/10.1044/2018_AJSLP-17-0157   Hengst, J. A. (2015). Distributed communication: Implications of cultural-historical activity theory (CHAT) for communication disorders. Journal of Communication Disorders, 57, 16–28. Https://doi.org/10.1016/j.jcomdis.2015.09.001   Devanga, S. R., & Mathew, M. (2024). Exploring the use of co-speech hand gestures as treatment outcome measures for aphasia. Aphasiology. Advanced online publication. https://doi.org/10.1080/02687038.2024.2356287   Devanga, S. R., Wilgenhof, R., & Mathew, M. (2022). Collaborative referencing using hand gestures in Wernicke's aphasia: Discourse analysis of a case study. Aphasiology, 36(9), 1072-1095. https://doi.org/10.1080/02687038.2021.1937919    

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Leave a Comment • WE DO NOT CLAIM TO BE LEGAL PROFESSIONALS ‼️EVERYTHING IS PUBLIC KNOWLEDGE AND THESE ARE PERSONAL EXPERIENCES OF THE INDIVIDUALS BEING INTERVIEWED OUR RESPONDS IS A REPLAY OF WHATS BEEN ON PUBLIC RECORD AND OR EVENTS THATS BEEN ON PUBLIC RECORD! • Donate cashapp: $NSMeettheshu paypal: meettheshu2019@gmail.com • Support our Sponsors: • Lena Body Butter www.lenasbodybutterplus.com • Bossed up beauty boutique Waist trainers/ Active wear www.bossedupbeauties.com • Cashmere Lux hair products Natural Hair products www.cashmereluxhairsalon.com