Podcasts about Ime

Ime tedna je Ana Gros, slovenska rokometašica, ki je po 25 letih kariere, po sklepnem turnirju četverice v EHF ligi prvakinj v Budimpešti, končala svojo bogato športno pot. Velja za eno najboljših levorokih strelk v zgodovini evropskega rokometa, za slovensko reprezentanco pa je zbrala 159 nastopov in dosegla rekordnih 767 golov. Leta 2013 je osvojila srebrno kolajno na sredozemskih igrah, kot dolgoletna kapetanka slovenske reprezentance pa je z njo nastopila tudi na olimpijskih igrah v Parizu leta 2024. Kandidata sta bila tudi:   Beti Bricelj, umetnica in predstavnica geometrične abstrakcije, ki sodeluje na razstavi ob 200. obletnici ustanovitve Kraljeve škotske akademije v Edinburghu. Na eni najpomembnejših razstav sodobne umetnosti in arhitekture na Škotskem se s sliko Prostorski premik predstavlja ob izboru del umetnikov iz Združenega kraljestva in širšega mednarodnega prostora. Po besedah umetnice na letni razstavi akademije doslej še ni razstavljal noben umetnik iz Slovenije.    Urban Rotnik, soustanovitelj podjetja HeroLabs, kjer skupaj z ekipo razvijajo pametne ovratnice za krave MooHero. Te rejcem pomagajo spremljati obnašanje živali, njihovo reprodukcijo in zdravstveno stanje. Podjetje je zraslo iz družinske kmetije kot odgovor na izzive, s katerimi se soočajo številne slovenske kmetije. Za rešitev MooHero je ekipa prejela naziv slovenski startup leta 2026. 

Please visit answersincme.com/860/IME_2025_00012595-replay to participate, download slides and supporting materials, complete the post test, and get a certificate. Presented by John V. Heymach, MD, PhD; and Mark Awad, MD, PhD. In this activity, experts in oncology discuss the role of dual and HER2-selective oral tyrosine kinase inhibitors in patients with HER2-mutated non–small-cell lung cancer. Upon completion of this activity, participants should be better able to: Specify how TKIs may address unmet therapeutic needs for diverse patient populations with HER2-mutated NSCLC; Interpret the clinical evidence for approved oral TKIs for patients with HER2-mutated NSCLC; and Assess which patients may be candidates for approved oral HER2-targeting TKIs in the context of the current standard of care.

Preporod je mariborska skupina, ki je nastala pred 50 leti. Ime so si nadeli po peči, ki so jo izdelali zaporniki. Svojemu industrijskemu mestu so posvetili komad, v katerem je “reka puna klora” simbol Maribora. Melodija je ljudska, besedilo je napisal pokojni Smiljan Kreže, komad pa obožuje tudi navijaška skupina Viole. Pripovedujejo, igrajo in pojejo: Boris Bobek, Sašo Stojanovič, Darko Čerič in Luka Kreže. Zapiski: Maribor (Reka puna klora), originalna verzija Komadi: Zarjavele trobente Komadi: Proleter

Ime tedna je postal Jan Surina, vodja prostovoljcev Mladinskega kluba Nade Žagar v Ilirski Bistrici, najstarejšega slovenskega mladinskega kluba, znanega kot MKNŽ, ki letos obeležuje 60 let neprekinjenega delovanja. Klub že desetletja kljubuje družbenim spremembam ter mladim ponuja prostor ustvarjalnosti in alternativne kulture, hkrati pa ostaja eno ključnih alternativnih glasbenih prizorišč pri nas. Ob jubileju so v Sokolskem domu pripravili vrsto dogodkov, razstavo in tudi posebno ploščo MKNŽ Live s posnetki legendarnih koncertov iz klubske zgodovine.Kandidata sta bila tudi: Anže Jazbec, vodja raziskovalnega reaktorja TRIGA na Institutu Jožef Stefan, ki obeležuje 60 let delovanja. V reaktorju so se izobraževale generacije raziskovalcev, inženirjev in operaterjev s področij jedrske energije, medicine, varstva pred sevanji in drugih znanstvenih disciplin, hkrati pa je predstavljal pomembno stičišče znanja, iz katerega so izšli številni temeljni raziskovalni in tehnološki dosežki. Odličnost delovanja ter delo strokovnjakov in strokovnjakinj, ki so v reaktorju delovali in delujejo še danes, sta ključno prispevala k njegovi mednarodni prepoznavnosti. Boštjan Kotnik, vodja mednarodnega festivala Igraj se z mano, ki že dve desetletji povezuje otroke in mladostnike s posebnimi potrebami, njihove družine, prostovoljce in obiskovalce vseh generacij. Festival je zrasel v pomemben prostor vključevanja, kjer osebe s posebnimi potrebami niso le udeleženci, temveč aktivno sodelujejo tudi pri organizaciji, logistiki in izvedbi programa. Tudi letošnjo izvedbo so omogočili prostovoljci Društva za inkluzijo ter zaposleni Centra Janeza Levca, ki pri projektu sodelujejo prostovoljno. 

Ime tedna je postala Mojca Volkar Trobevšek, učiteljica slovenskega jezika na Osnovni šoli Stranje, ki je v okviru iniciative Učitelj sem! Učiteljica sem! postala učiteljica leta 2026. Pri poučevanju ji je najpomembneje, da učenci razumejo, zakaj se učijo določenih vsebin, in kako bodo pridobljeno znanje uporabljali v prihodnosti. Slovenska predstavnica na svetovnem izboru učiteljev je tudi urednica, avtorica in redna sodelavka Planinskega vestnika ter drugih medijev. Piše kratko prozo in poezijo, njena zgodba pa je bila lani nagrajena na Beletrininem natečaju za najboljšo kratko zgodbo.Kandidata sta bila tudi: Martin Horvat, arheolog in vodja kustodiata za srednji vek v Mestnem muzeju Ljubljana, ki je s svojim več kot 40-letnim delom ter rezultati obsežnih arheoloških raziskav bistveno prispeval k poznavanju urbanega razvoja Ljubljane v srednjem in novem veku ter k napredku srednjeveške in novoveške arheologije v Sloveniji. Za svoje delo je prejel Valvasorjevo nagrado za življenjsko delo, najvišje priznanje, ki ga vsako leto podeljuje Slovensko muzejsko društvo. Teja Oblak, košarkarica, ki je dosegla pomemben mejnik slovenskega športa in ženske košarke. Kot prva Slovenka je zaigrala v ženski ligi NBA, najmočnejšem ženskem klubskem tekmovanju na svetu. Po dolgotrajnih težavah s poškodbo se je uspešno vrnila na parket, kjer je v dresu Portlanda ob zmagi proti Torontu v 17-ih minutah dosegla tri točke in devet asistenc. Kapetanka slovenske reprezentance je s tem znova potrdila svojo vztrajnost in pomembno vlogo v slovenski košarki ter odprla novo poglavje za slovenske košarkarice na največjem odru.

Ime tedna je postala Sara Šabec, programska vodja projekta Kino brez ovir, ki je na Dunaju med 369 prijavljenimi projekti iz različnih evropskih držav prejel 3. nagrado SozialMarie in bil prepoznan kot eden najboljših primerov socialnih inovacij letošnjega leta. Projekt, ki ga izvajajo Kulturni dom Cerknica, Kino Union Celje in Kino Linhartova dvorana Radovljica, je v sklopu programa pripravil več kot 60 dostopnih filmskih projekcij z zvočnimi opisi, opisnimi podnapisi in tolmačenjem v slovenski znakovni jezik. V program pa je bilo vključenih skoraj 3000 predstavnikov skupnosti slepih, slabovidnih, gluhih in naglušnih.Kandidati so bili tudi: Miha Bezeljak, slovenski igralec in lutkovni ustvarjalec, član Lutkovnega gledališča Maribor, ki je za vlogo v predstavi Ostržek prejel nagrado za najboljšega igralca na 12. Festivalu otroške umetnosti v Sarajevu tako po mnenju žirije kot občinstva. Poleg te nagrade je za isto predstavo prejel še več pomembnih priznanj, ki potrjujejo njegov pomemben prispevek k sodobnemu lutkovnemu gledališču in izjemno prepoznavnost predstave Ostržek v mednarodnem prostoru.  Miša Fister in Tomaž Goslar s kliničnega oddelka za intenzivno interno medicino interne klinike, ki sta vodila klinično študijo, v kateri so strokovnjaki v UKC Ljubljana kot prvi na svetu potrdili, da imajo bolniki s srčnim infarktom več možnosti za uspešno zdravljenje, če zdravilo za topljenje strdkov heparin prejmejo že na poti v bolnišnico. Kot sta povedala, bo strokovno zelo odmevna študija najverjetneje vplivala na mednarodne smernice zdravljenja srčnega infarkta. V povprečju na dan obravnavajo približno dva primera, letno pa okoli 700 takšnih bolnikov.   

The IMEUS virus infects radio morning shows when the program is too much about "I" "Me" and "Us". More with Chris Conley on the WSAU Wisconsin Morning News.See omnystudio.com/listener for privacy information.

Ime tedna sta postala Denis Baš in Vanja Kogoj Jug, predsednik in podpredsednica Sekcije za primarno pediatrijo pri Združenju za pediatrijo, ki je vzpostavilo spletno stran z enotnimi priporočili pediatrične stroke.Spletna stran omogoča enostaven dostop do strokovno utemeljenih informacij o ukrepanju ob najpogostejših zdravstvenih težavah otrok in mladostnikov. Pri projektu je pro bono sodelovalo več kot 60 strokovnjakov, ki poudarjajo, da priporočila niso namenjena samozdravljenju in ne morejo nadomestiti pregleda pri zdravniku. Kandidata sta bila tudi: Boris Krabonja, srednješolski profesor, ustanovitelj in vodja mariborskega humanitarnega društva UP-ornik, ki obeležuje deset let delovanja. Društvo povezuje prostovoljce, ki pomagajo ranljivim posameznikom v stiski, ljudem brez socialne opore ter tistim, ki so odrinjeni na rob družbe. V zadnjih letih posebno pozornost namenjajo pomoči upokojencem, ki se zaradi nizkih pokojnin vse težje prebijajo skozi vsakdan. Gregor Rihtaršič, doktorski študent na Fakulteti za matematiko in fiziko Univerze v Ljubljani, ki z vesoljskim teleskopom James Webb raziskuje temno snov. Kot prvi Slovenec je prejel raziskovalno štipendijo Evropske vesoljske agencije, s katero se pridružuje elitnemu evropskemu raziskovalnemu programu na področju astrofizike. Štipendija mu bo omogočila samostojno raziskovalno delo v največjem raziskovalnem središču Ese ter prispevala k boljšemu razumevanju temne snovi in njene vloge pri nastanku galaksij.  

Ime tedna je postala Špela Pungaršek, biologinja in vodja Alpskega botaničnega vrta Juliana v Trenti, ki letos praznuje 100 let od ustanovitve. V njem uspeva okoli 700 rastlinskih vrst, med njimi številne redke, ogrožene in zavarovane. Od leta 1951 je zavarovan kot spomenik oblikovane narave, uvrščen pa je tudi med naravne vrednote Slovenije. Deluje v okviru Prirodoslovnega muzeja Slovenije, kjer so ob obletnici pripravili razstavo Juliana – cvetoča učilnica narave. Kandidatki sta bili tudi: Aleksandra Česen, nogometna sodnica, ki je postala prva glavna sodnica v slovenski moški prvi ligi. Kot mednarodna sodnica je leta 2021 debitirala v drugi slovenski moški ligi, prelomni trenutek pa je bila tekma 32. kroga državnega prvenstva, ko je kot glavna sodnica vodila tekmo s sodniško ekipo. Leta 2014 je bila uvrščena na mednarodno listo FIFA kot druga slovenska sodnica v zgodovini, od takrat pa sodi na tekmah domačih in mednarodnih tekmovanj. Teja Reba, predsednica Društva za sodobni ples Slovenije in umetniška vodja prvega bienalnega festivala v javnem prostoru Ples za vse, ki je ob mednarodnem dnevu plesa potekal v Ljubljani, Škofji Loki, Celju in Novi Gorici. Kljub dežju je festival povezal profesionalne plesalce in ljubitelje plesa ter za en dan plesno oživil mesta, ob tem pa izpostavil, da je ples tudi orodje za razumevanje sveta in grajenje boljših medčloveških odnosov.

Please visit answersincme.com/860/IME-018263-replay to participate, download slides and supporting materials, complete the post test, and get a certificate. Presented by April W. Armstrong, MD, MPH and Lawrence J. Green, MD. In this activity, experts in psoriasis review the latest evidence on approved and emerging TYK2 inhibitors for patients with moderate to severe plaque psoriasis. Upon completion of this activity, participants should be better able to: Recognize unmet needs in the treatment of patients with moderate to severe plaque psoriasis; Differentiate TYK2 signaling from JAK pathways and their relevance to clinical practice; and Review clinical trial data on approved and emerging TYK2 inhibitors for patients with moderate to severe plaque psoriasis.

Pravljica o čudežni brezi nas popelje v svet starca in starke, ki sta iz globoke revščine, ko nista imela niti trsk za podkurit, s pomočjo magije prišla do vsega – od polnih kašč doskrinj zlata. Toda ni se dobro končalo. Prisluhni udmurtski pripovedki Lepotica breza. In kdo so Udmurti? To je etnična skupina iz Udmurtske republike v Rusiji. Ime pomeni ljudstvo travnikov.Vir: Pastirica drobtinica, izbor ljudskih pravljic, izbrala Kristina Brenkova, Mladinska knjiga, Ljubljana, 1965, bere Nataša Holy

Ime tedna je Jakob Erhartič, vodja študentske ekipe Edvard Rusjan Team s Fakultete za strojništvo Univerze v Ljubljani, ki je z radijsko vodenim brezpilotnim letalom Brvinc na mednarodnem tekmovanju Design/Build/Fly (Načrtuj/izdelaj/leti) 2026 v ZDA osvojila 1. mesto v konkurenci 98 univerzitetnih ekip z vsega sveta. Več kot 30-članska ekipa s sedmih ljubljanskih fakultet je z večmesečnim intenzivnim delom, znanjem in vztrajnostjo dosegla sam vrh enega najzahtevnejših študentskih tekmovanj na področju letalstva.Kandidata sta bila tudi: Andrej Lupinc – Lupo, direktor fotografije, režiser in scenarist, ki je do nedavne upokojitve soustvarjal vsebine Televizije Slovenija. Sodeloval je pri celovečernih filmih ter posnel več kot 40 dokumentarnih in kratkih filmov, kot filmski ustvarjalec pa soustvarjal tudi prostor eksperimentalnega videa in alternativne produkcije. Združenje filmskih snemalcev Slovenije mu je podelilo nagrado iris za življenjsko delo.  Anže Kopitar, hokejski as, ki je v ligi NHL pustil izjemen pečat in postal eden najboljših hokejistov Kraljev v zgodovini. Kot prvi Slovenec je v NHL debitiral leta 2006, navdušil že na prvi tekmi in pozneje veljal za enega najboljših vsestranskih centrov lige. Dvakratni zmagovalec Stanleyjevega pokala je že pred sezono napovedal upokojitev, ki je po četrtem zaporednem porazu v seriji proti prvim favoritom za naslov prvaka lige NHL zdaj tudi uradna. 

Ime tedna je postala Helena Fojkar Zupančič, glasbena pedagogija in zborovodkinja Zbora svetega Nikolaja Litija, ki je na Evropskem grand prixu v zborovskem petju osvojil veliko zborovsko nagrado Evrope. V finalu najprestižnejšega zborovskega tekmovanja na svetu je nastopilo pet vrhunskih zborov, prvič kar dva slovenska, o zmagovalcu pa je odločala mednarodna žirija. Litijski zbor se je s tem izjemnim uspehom uvrstil med najboljše na svetu in postal šele tretji slovenski zbor s to prestižno nagrado v njeni več kot 30-letni zgodovini.Kandidatke so bile tudi: Amy Skinner in Vesna Perc, pobudnica in sopobudnica akcije Otroštvo brez pametnih telefonov – počakajmo skupaj, v okviru katere so se starši ob podpori Osnovne šole Pirniče zavzeli za otroštvo brez pametnih telefonov in ustvarili spletno stran pocakajmo.si. Ta prikazuje število otrok brez pametnega telefona na posameznih šolah in s tem k tej odločitvi spodbuja njihove vrstnike. Pobuda je del širšega mednarodnega gibanja Smartphone Free Childhood, ki se je začelo v Združenem kraljestvu in se razširilo v več kot 40 držav. Tanja Tuma, predsednica Slovenskega centra PEN, slovenske podružnice mednarodnega združenja PEN, ki že 100 let povezuje pisatelje, pesnike in esejiste, spodbuja slovensko književnost, mednarodno povezovanje avtorjev ter opozarja na kršitve svobode govora in pravic pisateljev. V svoji zgodovini je PEN pomembno prispeval k povezovanju slovenskega kulturnega prostora z mednarodnim okoljem, z blejskimi srečanji pa ostaja pomemben steber kulturne diplomacije. Obletnico spremlja tudi razstava v NUK Stoletje pisanja za mir: Slovenski PEN od ustanovitve leta 1926 do danes.  

Festival slovanskih književnosti se letos posveča dvajseti obletnici zbirke Sto slovanskih romanov, gostil pa bo osem priznanih sodobnih avtoric in avtorjev. Pri Mladinski knjigi so predstavili tri leposlovne novosti: knjigo Kolizej Helene Koder, slikanico Gospod Izraziti Nobelove nagrajenke Olge Tokarczuk in priznane ilustratorke Joanne Concejo ter stripovsko interpretacijo romana Ime rože, ki jo je ustvaril legendarni italijanski stripar Milo Manara. V mariborskem razstavišču Kibela pa si lahko le še do konca tedna ogledate razstavo z naslovom Naredi sliko slikarja, kiparja in grafika Jožeta Šubica.

Piše Jože Štucin, bereta Jure Franko in Eva Longyka Marušič. Neža Zajc, rojena leta 1979 kot vnukinja nesmrtnega Daneta Zajca, se je kot pesnica pojavila dokaj pozno. Najprej se je preizkušala s proznim pisanjem in šele po smrti močnega žlahtnika je z žarom in vehemenco zverzirane ustvarjalke stopila v svet poezije. Leta 2014 je izdala pesniški prvenec Ime gore, do najnovejše knjige Bele sence pa je nanizala še tri zbirke. Torej smo pri petem dejanju, ki ima vse značilnosti zrelega opusa. Bele sence še zdaleč niso samo bele, prav pester niz poetik je tu združenih v enovito fresko, ki prepričljivo krmari med intimo in belino sveta, med jazom, ki se bori s podobami, in jazom, ki ga kljuje ujeda naše izgubljene civilizacije. Lepa zbirka, če odmislimo ontološko resignacijo, ki brsti na požganih travah: lepota v trpkosti, lepota v sivini, ki žari močneje kot barvni spekter. Kljub radikalnemu pristopu in preizpraševanju smisla biti, tu-biti, poetičnemu (na)gonu in strastni želji po iskanju prerokbe, se zbirka daje v branje v čisto konvencionalni podobi. Spremno besedo je napisala dr. Vilma Purič, pesmi so sistematično razporejene po sklopih, sedem jih je, in vse teče gladko, kot se za pesniško zbirko nekje na vrhuncu ustvarjanja spodobi. Nekajkrat so cikli uvedeni z verzi iz Zajčeve zapuščine, zato ima bralec na voljo vsaj skromen namig, kako brati, vendar se pesnica zna izogniti pretiranim kazalnikom in citate izbira na ravni, ki dopuščajo več, kot so nemara izvorno v sklopu svoje celote imeli namen sporočiti. Pač, metaforika, tista "šibka" točka Wittgensteinove filozofije, njegovih frenetičnih iskanj mej jezika in začetkov molka, kjer je klonil v mehanizmih, da bi prišel jeziku "do konca". Pri poeziji je filozof pač moral priznati, da metafora suvereno izreka onstranstvo jezika, da sporoča, ozvočuje tišino, molk in jezik neizrekljivega, ter nadvse zgovorno prezentira (ne)smisel poezije, ki je bolj smiseln, kot se zdi slepemu ušesu. S tem se je vedno boril, filozof neizrekljivega. Ko tista hladna resničnost jezika, ki nas obvladuje v komunikaciji pene (vsakodnevnih) dni, v komunikaciji hudičeve samosti, ki hoče govoriti z drugim in biti slišana, pa tudi razumljena, a po zakonitosti narojene samote, kar je človek v bistvu, vedno naleti na oviro interpretacije, vedno pade v prostor diskusije – kaj je kdo hotel povedati, sporočiti. Na zgornji omejitvi metafora preskoči igrico izmenjave besed in prestopi v poezijo, v neposredno poved, ki izreka resničnost. Na tej postavki se zdi, da gradi tudi pesnica Neža Zajc – izreka belino svojih senc in jih tako dela vidne, slišne, čutne, eksistenčno relevantne. Sklopi vsak zase poglabljajo neko pesniško intenco, vzgib, ki kljubuje smrti in piše življenje, in nasprotno, seveda, kot življenje, ki piše smrt. Nemara tudi pod okriljem uvodnih verzov Daneta Zajca, ki zbirki daje začetni zagon. Citat je rokopisna zapuščina slavnega dedka, ima pa vse značilnosti njegove preroško resignirane minljivosti v času praznine in smrti: "... smo živi bolj / in drugje / od naših temnih senc ..." Tu se vse začne, točno na robu smisla, na meji, ko bi pesnik vendarle še kaj rekel, hkrati pa že molči in zre niču v oči. Pesnica takoj povzame ta kongenialni navdih in ga zapelje v polje družbe, skupnosti. Nismo sami, kot je pri Danetu Zajcu včasih mogoče primarno, tu smo vsi, vsi na istem poligonu, v istih škripcih, z enakimi bolečinami in strahovi. Pesem V sencah ima zajčevski liker izraznosti, skoncentriran gnoj in sok, vse v enem, ki se skozi sito poezije cedi z metaforami in črkami do onemoglosti, do meje jezika, ki komaj še zmore nositi strašne pomene. Takole gre: »V sencah se rojevajo bitja, / in prehod v pročelja lét / pomeni daljše izgubljanje / zaznavanje sebe tu. // Kakor bi ne znal shoditi / do morja, do starega pomola, / se ogniti pošasti ogromni / nezaznamovanih ljudi, // zreš le sence menjave prostorov. Pesem razodeva pesničin miselni in čustveni obrat vase, v svoj pojav, ki zgolj receptira svet, ga strahoma sekvencira in opazuje, a ob tem hrepeni po kazalnikih, ki bi svetu, naši pojavnosti sredi niča, razodeli smisel bivanja. Sam si, gol in položen v senco, ali kot je zapisala v pesmi Pred oknom slapovi: "Tako od sijanja lune / izvržen na cesto bos, /in izpraznjen, mil / kakor lačen v grobu, / nag nisi več ranljiv." V poeziji Neže Zajc se spogledujemo z bivanjskimi strahovi, ki so v resnici tramovi naše biti. Soočenje s praznino in "ničem" jo navdihuje do te mere, da samo sebe skuša povzdigniti v smiseln pojav. Pesniška drža je pač suha in nema, v izvoru, šele z realiziranjem "sebstva", se povzdigne nad praznino in začne izrekati. Pri Neži Zajc smo v tej pozicij. Pesnica izreka vse, kar se ji kot pojavnost sili pred oči: "Od onstranstva veje burja / na zaledenelem obzorju / in od tal raste duša ..." Ker gre za sugestibilno pesnico, tako, ki celo presega svoje meje in se dotika drugih, ni nenavadno, da v svoj poetični korpus pritegne tudi Srečka Kosovela. V ciklu Poslednje bilke se mu pokloni s pesmijo Cvetovi, kjer pa ga, pesnika upanja in smrti, v sklepnih verzih tudi zakoplje v njegov Kras: "In na tleh so cvetovi, / pod katerimi prihuljen, / s praznimi rokami upanja, / s stisnjenimi pestmi / kakor dete mižiš, mižiš." Zbirka, ki na gosto beleži stanja duha, smisla, družbene "zgodbe", išče odgovore na strahotna vprašanja, trepeta v svoji minljivosti in se oklepa pokopališč, ki so središčne točke človeštva, ima tudi zelo jasen smisel, biti dober do drugega, biti socialen in živ v skupnosti. Rahlo v disonanci s siceršnjo naracijo te poezije se vsake toliko iz požganin dvigne upanje, ne kot božje razodetje, bolj kot ljubezen, ki je (poleg pesniške metafore) edino, kar presega naše meje. In tudi ne priznava "konca" biti in protežira realnost kot princip čudnega tandema, vzetega iz biolške resničnosti, kjer dominirata življenje in smrti. A v zakulisju, ki je očem nevidno, dopuščata "še nekaj več". Ali kot pesnica Neža Zajc piše v pesmi V ljubezni: "med petjem mrtvih / so beli verzi čarobnosti, / ki spati ne pustijo, / ne oddahniti se končno." To se nekako navezuje tudi na pesem Eno, kjer se eksplicitno zavzame za akcijo, za konkretno vlogo posameznika v svetu, za dejanja, ki tudi edino odrešujejo: ko se odzoveš na krik trpečega, vsi jeziki umolknejo, vsa poezija dobi smisel v akciji: "Ker zavedanje edinosti / razgleda nad morjem / vzame vse jezike. // Ko prosjačiš za bolne, / odsekaš hladne lovke, / verjameš v ščitenje, / prevajaš glasove / v telesne neširine." Zbirka Bele sence izhaja iz prednikov, piše se iz duše, ki je zastavila rod, črkuje se po zakonih belih trav, ki sedaj valovijo v brezvetrju in odsevajo svojo gibkost le skozi besede. Segajo prek smrti in časa, trepetajo pred obličjem neizrečenosti in pozabljenja, obenem pa klijejo ne neki požganini, kjer človek nikoli ne ve, ali bo iz zemlje pokukal nov cvet ali bo luknja v nič še globlja. Neža Zajc je v tej ekvilibristiki med genskim spominom in svojo izvirno potjo polna idej. V knjigi je kar nekaj presežkov, ki plivkajo v vse smeri, iščejo nove izvire, nove vzgibe za pisanje. Jezik, s katerim govori, je tako mitološki, kar jo veže na slavnega prednika, kot tudi živ, sproten, odziven v času in skuša razodevati svoj aktualni trenutek. Taka je brez dvoma tudi pesem-cikel Časov vseh izhod, ki proti koncu knjige preskakuje med preteklostjo, sedanjostjo, prihodnostjo, trenutkom in večnostjo, ter kulminira v pesmi Stopnice, kjer je vse razodeto: "Povzpneš se le do križa / do prekopanega pokopališča, / ki na večernem hribu / privlači telesa resnična."

Ime tedna je postala Katja Felle, vizualna umetnica in idejna vodja izvirnega medgeneracijskega projekta Ustavi – zašij – ponastavi, v okviru katerega so članice Koroškega medgeneracijskega centra od leta 2015 šivale gobelin, velik dva krat tri metre. Gobelin z motivom živih barv, povzetim po posnetku ekranske motnje na televiziji, za katerega je umetnica izbrala staro rokodelsko tehniko vezenja, je na koncu zahteval več kot 11.700 ur šivanja, tri milijone vbodov in več kot 15 kilometrov preje. Kandidati so bili tudi: David Preložnik in Nenad Firšt, glavni koordinator in umetniški vodja najstarejšega in najpomembnejšega mednarodnega tekmovanja mladinskih pevskih zborov v Sloveniji – Mladinskega pevskega festivala v Celju, ki z bogatim sporedom in vodilom »petje kot sila povezovanja« praznuje 80 let. Jubilej spremljajo znanstvena monografija, dokumentarni film in pregledna razstava, Celje pa se z Mladinskim pevskim festivalom uvršča na glasbeni zemljevid pevskih prestolnic Slovenije, Evrope in sveta.  Tomi Janežič, gledališki režiser, ki je z avtorskim projektom – predstavo 1973 – na 56. Tednu slovenske drame prejel tako Šeligovo nagrado za najboljšo predstavo festivala kot tudi nagrado občinstva. Predstava je nastala v koprodukciji SNG Nova Gorica in GO! 2025 – Evropska prestolnica kulture Nova Gorica – Gorizia in je del širšega projekta Dodekalogija, celoletnega gledališkega omnibusa, sestavljenega iz dvanajstih predstav (1972–1983). Nedavno mu je Združenje dramskih umetnikov Srbije za režijo avtorske predstave 1981 namenilo tudi nagrado Bojana Stupice za leto 2025.  

Morda ste že kje slišali latinski rek: “Nomen est omen.” (Ime je znamenje). Ko je Mojzes Boga, ki mu je govoril v gorečem grmu vprašal po imenu, mu je odgovoril z nenavadnim odgovorom ...

Ime tedna sta postala Arne Hodalič in Katja Bidovec, fotografski tandem in prva slovenska fotografa, ki sta uspela priti na naslovnico ikonične ameriške revije National Geographic. Fotografijo zlate pasne zaponke sta posnela med petletnim dokumentiranjem potopljene ladje iz 7. stoletja ob otoku Mljet. Ob tem njune fotografije ne le dokumentirajo odkritja, temveč tudi soustvarjajo njegovo zgodbo, predstavljeno na več kot dvajsetih straneh aprilske številke revije. Kandidata sta bila tudi:Jure Knez, soustanovitelj trboveljskega visokotehnološkega podjetja Dewesoft, ki že več kot 20 let sodeluje z ameriško vesoljsko agencijo NASA. Njihova napredna merilna in programska oprema ima pomembno vlogo tudi pri enem najpomembnejših vesoljskih projektov današnjega časa – misiji Artemis 2, vesoljskem poletu s preletom Lune. Podjetje pri tej misiji sodeluje z merilnimi sistemi in programsko opremo, s katerimi pri NASI med drugim spremljajo vibracije rakete ter v realnem času analizirajo ključne podatke za varnost in potek misije. Zvezdan Pirtošek, priznani slovenski nevrolog, ki je postal prvi Slovenec, imenovan za neodvisnega strokovnjaka Združenih narodov za pravice starejših pri Svetu OZN za človekove pravice. Njegova naloga bo spremljanje položaja starejših po svetu, opozarjanje na diskriminacijo ter priprava priporočil za izboljšanje njihovega položaja. Kot je dejal, imenovanje razume kot veliko čast zase in za Slovenijo, pa tudi kot pomembno priznanje, da pravice starejših niso obrobno vprašanje, temveč eno temeljnih vprašanj človeškega dostojanstva v sodobnem svetu.

Ime tedna je postala Eva Novak, dijakinja 2. letnika Gimnazije Franca Miklošiča Ljutomer, ki ji je Dijaška organizacija Slovenije podelila naziv naj dijakinja Slovenije 2026. Odlična učenka in glasbenica igra violino, kitaro, klavir in orgle ter vodi otroški zbor, svoje talente nadgrajuje tudi z aktivnim sodelovanjem v skupnosti in prostovoljstvom. Pred dvema letoma je na natečaju Mladi pisatelj za knjižni prvenec z naslovom Zaslužiš si živeti večno prejela drugo mesto.Kandidatki sta bili tudi: Barbara Pipan, raziskovalka s Kmetijskega inštituta Slovenije in vodja skupine, ki je več kot desetletje razvijala novo sorto fižola, ki se bolje prilagaja podnebnim razmeram, saj je bolj odporna na vročino in pomanjkanje vode. Do nove sorte KIS Ahac so raziskovalci prišli s ciljnimi ročnimi križanji v okviru programa žlahtnjenja fižola, kar zahteva natančno načrtovanje, potrpežljivost in veliko znanja. Nova sorta je že vpisana v sortno listo, na trg pa naj bi prišla prihodnje leto. Nika Prevc, najboljša smučarska skakalka na svetu, ki je že v drugi seriji treninga v Planici postavila nov svetovni rekord – 242 metrov in pol. Na zgodovinski prvi ženski tekmi na največji letalnici na svetu pa je prevlado zadnjih let potrdila z jubilejno 40. zmago v svetovnem pokalu. To je bila hkrati njena 18. zmaga v sezoni, v kateri je poleg velikega kristalnega globusa osvojila tudi tri olimpijske kolajne.

Ime tedna je postal Tadej Pogačar, kolesarski as, ki je v šestem poskusu osvojil zmago na kolesarskem spomeniku Milano–Sanremo. Kljub padcu dobrih 30 kilometrov pred ciljem je osvojil prvo od dveh največjih enodnevnih dirk, ki mu v karieri še manjkata. Kot je povedal po dirki, je ob padcu pomislil, da je vsega konec, a se je na srečo hitro pobral in sedel na kolo, ki ni bilo preveč poškodovano.Kandidata sta bila tudi: Ana Roš Stojan, priznana kuharska mojstrica in lastnica restavracije Hiša Franko, ki je kot prva v Sloveniji prejela pet kap vodnika Gault & Millau, enega najvplivnejših mednarodnih vodnikov v svetu gastronomije. Gre za priznanje za vrhunsko kulinarično ustvarjanje in celostno gastronomsko doživetje, ki pomembno prispeva k mednarodni prepoznavnosti gastronomije ter umeščanju destinacij na svetovni kulinarični zemljevid.  Jakob Vrhovec, vodja projekta Škofjeloški pasijon, najstarejšega v celoti ohranjenega slovenskega dramskega besedila iz leta 1721, ki predstavlja eno največjih dragocenosti Škofje Loke ter pomemben del slovenske in svetovne kulturne dediščine. Uprizoritev je velik organizacijski in logistični zalogaj, saj pri njej sodeluje okoli 1.500 ljudi, med njimi približno 1.200 igralcev in prostovoljcev iz širšega škofjeloškega območja. Pasijon je od leta 2016 vpisan tudi na Unescov Reprezentativni seznam nesnovne kulturne dediščine človeštva.     

Ime tedna je postal Danijel Mitrović, vodja projektne pisarne za razvoj, raziskave in inovacije Skupine Sij, v kateri so razvili visokotehnološko jeklo za uporabo v vesoljski industriji. V okviru razvojno raziskovalnega projekta so naročniku dobavili že več kot 500 ton materiala za ključne konstrukcijske dele vesoljskega plovila, ki naj bi kmalu poletelo v vesolje. Jeklo mora prenesti ekstremne pogoje, od zelo visokih temperatur ob delovanju raketnih motorjev do izjemno nizkih temperatur zunaj zemeljske orbite. Kandidata sta bila tudi: Sonja Bezjak, direktorica Muzeja norosti, ustanove, ki zadnjih 13 let deluje na gradu Cmurek na Tratah v občini Šentilj. Muzej so leta 2013 ustanovili prebivalci in sodelavci, povezani s krajem Trate, da bi ohranili grad Cmurek, v njegovem okviru pa obravnavali fenomen norosti in dediščino nekdanje institucije, ki je v gradu delovala po drugi svetovni vojni. Muzej je med 35 nominiranci za nagrado evropski muzej leta, nagrajence pa bodo razglasili junija na konferenci v Bilbau. Jakob Klemenčič, stripar, ilustrator, umetnostni zgodovinar in soustanovitelj revije Stripburger, ki je na pobudo direktorja Lokalne akcijske skupine Kras/Carso Aleša Pernarčiča pripravil Karstrip, nov stripovski turistični vodnik po čezmejnem Krasu. Publikacija, ki je izšla v slovenščini, italijanščini, angleščini in nemščini, na pripoveden in dostopen način predstavlja naravno, kulturno in gastronomsko dediščino čezmejnega Krasa, bralca pa popelje na doživljajsko potovanje po območju med Slovenijo in Italijo.

Ime tedna je postal Srečko Medven, generalni sekretar organizacijskega komiteja Pokala Vitranc, ki je v več kot 30 letih s sodelavci poskrbel, da je smučarski praznik v Kranjski gori postal ena od najbolj cenjenih postaj svetovnega pokala v alpskem smučanju. Uspešna 65. izvedba tekmovanja je bila njegova zadnja v tej vlogi. Kandidata sta bila tudi: Domen Prevc, smučarski skakalec, ki si je že pred koncem izjemne sezone zagotovil zmago v skupnem seštevku svetovnega pokala in osvojil veliki kristalni globus. Tako se je kot edini v zgodovini pridružil Fincu Mattiju Nykänenu z vsemi mogočimi naslovi in dosežki v smučarskih skokih in poletih. V dobrem letu je namreč postal tudi svetovni rekorder, svetovni prvak v smučarskih skokih in poletih, prejšnji mesec je osvojil olimpijsko zlato medaljo na veliki skakalnici, januarja pa zlatega orla na novoletni turneji štirih skakalnic. Maja Žunič Fabjančič, vodja kolektiva Pozabljena polovica Novega mesta, kjer so ob mednarodnem dnevu žensk letos že desetič obudili spomin na ženske, ki so v zgodovini pomembno zaznamovale Novo mesto, a je bila njihova vloga spregledana. Z vodenji po pešpoti vzpostavljajo kolektiven spomin in vpogled v življenja izjemnih posameznic, pionirk na svojih področjih, ki so živele in delovale konec 19. in v začetku 20. stoletja. Zahvaljujoč njihovemu delovanju ima Novo mesto štiri nove ulice, poimenovane po ženskah.

Né d'un atelier d'écriture en IME (institut médico-éducatif) il y a 15 ans, Astéréotypie est devenu un phénomène rock incontournable. Porté par des textes de membres autistes (dont trois collaborent au journal Le Papotin), le groupe propose une musique puissante et aérienne. Après avoir conquis des scènes mythiques comme le […] The post Astéréotypie first appeared on Radio Vostok.

Né d'un atelier d'écriture en IME (institut médico-éducatif) il y a 15 ans, Astéréotypie est devenu un phénomène rock incontournable. Porté par des textes de membres autistes (dont trois collaborent au journal Le Papotin), le groupe propose une musique puissante et aérienne. Après avoir conquis des scènes mythiques comme le […] The post Astéréotypie first appeared on Radio Vostok.

Rockets-Reed Shepherd or Amen Thompson  Tari Easons Energy Changed? Astros-Hold Strong, do not waste and asset!  Yourdon wants to play outfield. People fed up with Ime about Reed Shepherd

Ime tedna je postala Nika Kovač z Inštituta 8. marec, ki koordinira državljansko pobudo Moj glas, moja izbira. Pobudo je Evropska komisija sprejela in sklenila, da je zagotavljanje varnega in dostopnega splava ženskam v državah Unije mogoče financirati z evropskimi sredstvi. Gre za eno redkih državljanskih pobud v Evropski uniji, ki jih je podprl Evropski parlament, potem ko jo je podpisalo več kot ena 1,1 milijona Evropejcev.Kandidatki sta bili tudi: Maja Weiss, režiserka in scenaristka ter ena najplodovitejših slovenskih dokumentaristk, ki je s svojo več kot 35 let dolgo ustvarjalno potjo pustila trajen pečat v zgodovini slovenskega filma. Je prva režiserka, ki je v samostojni Sloveniji posnela celovečerni igrani film in vstopila v prostor, ki je bil tedaj izrazito domena moških. Njena filmografija obsega več kot 50 naslovov, prikazanih na več kot 150 festivalih, za svoj izjemen opus je prejela tudi nagrado Franceta Štiglica za življenjsko delo.  Mojca Lavrenčič, dirigentka, ki je na četrti izvedbi prestižnega mednarodnega tekmovanja za ženske dirigentke La Maestra v Pariški filharmoniji dosegla izjemen mednarodni uspeh. Med 225 prijavljenimi kandidatkami z vsega sveta je prejela prvo nagrado ter še vrsto posebnih priznanj, kar predstavlja pomemben dosežek tako za umetnico kot za slovenski glasbeni prostor.  

After a Rockets win, Lopez questions whether Ime's approach creates unnecessary challenges and whether simplifying things could unlock more consistency.

Ime tedna je postala Katja Poboljšaj, biologinja in strokovna vodja projekta LIFE AMPHICON, enega najvidnejših in najcelovitejših naravovarstvenih projektov na področju varstva dvoživk v Sloveniji. Kot so predstavili na zaključni mednarodni konferenci projekta, ki se bo uradno zaključil konec leta, se je z ukrepi projekta, kot so obnova mokrišč, vzpostavitev novih vodnih habitatov in zmanjševanje smrtnosti dvoživk na prometnicah, izboljšalo stanje populacij dvoživk ter ohranila biotska raznovrstnost.Kandidata sta bila tudi: Lidija Koren iz Kampa Koren, ki je na turističnem sejmu v Stuttgartu prejela najvišje evropsko priznanje na področju kamping turizma – nagrado PiNCAMP Hall of Fame. To je nekakšen »oskar« kamping industrije, ki ga podeljujejo za življenjsko delo in trajni prispevek k razvoju kamping turizma. Kot pravi sama, je to nagrada, ki je ne moreš načrtovati ali se nanjo posebej pripraviti, saj jo prejmeš takrat, ko te opazijo ljudje iz stroke in prepoznajo, da s svojim delom prispevaš k skupnemu dobremu.  Leo Černic, režiser, ki je na 76. izdaji Berlinala za svoj kratki animirani film Kozmonavti prejel eno izmed štirih nagrad, ki jih uradna žirija podeljuje filmom v tekmovalnem programu kratkega filma – kandidaturo za nominacijo za European Film Awards. Nagrada pomeni pomembno mednarodno priznanje in uvrstitev v ožji izbor za najuglednejše evropske filmske nagrade ter predstavlja izjemno potrditev kakovosti in pomembno mednarodno vidnost za slovensko animacijo.   

Ime tedna je postal Tomaž Lahajnar, predsednik Društva Laufarija Cerkno, ki obeležuje 70 let od ponovne oživitve ene najbolj prepoznavnih tradicionalnih pustnih skupin v Sloveniji. Tradicija, o kateri se v Cerknem ne prepira in ima veliko podporo domačinov, šteje 25 likov; za tri med njimi člani društva vsako leto obleke izdelajo na novo. Cerkljanska Laufarija je bila leta 2014 razglašena tudi za nesnovno kulturno dediščino državnega pomena. Kandidati so bili tudi: Domen Prevc, Nika Prevc, Nika Vodan in Anže Lanišek,skakalni kvartet, ki je v Predazzu osvojil olimpijski naslov na tekmi mešanih ekip. Domen Prevc je z zlato medaljo na veliki skakalnici postal tudi prvi slovenski posamični olimpijski prvak v smučarskih skokih, Nika Prevc pa se z osvojenim bronom domov vrača s kompletom medalj vseh barv.  Herta Maurer Lausegger, etnologinja in slavistka, ki se že desetletja posveča ohranjanju kulturne dediščine ter dokumentiranju slovenskih narečij na avstrijskem Koroškem, tudi z obsežnim avdiovizualnim gradivom. Trenutno se osredotoča na dokumentiranje ziljskega narečja. Za svoje življenjsko delo je prejela Tischlerjevo nagrado, najvišje priznanje Narodnega sveta koroških Slovencev in Krščanske kulturne zveze.

Ime tedna je postal Pavle Čuk, vodja smučišča Ski Bor v Črnem Vrhu nad Idrijo, ki je pred več kot dvajsetimi leti obnovil smučarske naprave in tako smučišče, ki beleži že šestdeset let organiziranega smučanja, rešil pred propadom. Od takrat skupaj z ekipo vsako zimo skrbi za izdelavo umetnega snega in zagon naprav ter tako ohranja pri življenju eno redkih malih smučišč pri nas, ki ostaja priljubljeno med vsemi generacijami.Kandidata sta bila tudi: Nika Prevc, najboljša smučarska skakalka zadnjih sezon in olimpijska podprvakinja, ki je svoj prvi olimpijski nastop na srednji skakalnici v Predazzu končala na drugem mestu in osvojila srebrno medaljo. To je že 29. kolajna na zimskih olimpijskih igrah za slovenske športnike, Nika Prevc pa je z uspehom še utrdila svoj status ene vodilnih športnic slovenskega zimskega športa. Branko Zakotnik, specialist internistične onkologije, ki je večino svoje poklicne poti posvetil delu na Onkološkem inštitutu Ljubljana ter pomembno prispeval k razvoju sodobnega zdravljenja raka v Sloveniji, za kar je prejel tudi državno odlikovanje red za zasluge. Kot dolgoletni predstojnik internistične onkologije in prvi koordinator Državnega programa obvladovanja raka je soustvarjal sistemski pristop k onkološki oskrbi ter zaznamoval razvoj stroke in organizacijo zdravljenja bolnikov z rakom.         

This was meant to be next week's podcast. But we decided it can't wait. IMe in my warm, manly take-charge voice. Jon in his fragile forgotten-child vox. Regular Readers, ARE YOU READY TO SING??? Hosted on Acast. See acast.com/privacy for more information.

Chris Forsberg and Tom Giles react to the Celtics 114-93 win over the Houston Rockets. Joe Mazzulla called on Ron Harper Jr. to start, as the C's were down three starters, and he stepped up big time. Forsberg and Giles also discuss the trade deadline and some breaking NBA news.0:00 Celtics hand Rockets largest loss of season4:13 Ron Harper Jr. get first career start8:35 Giving Joe Mazzulla his credit12:57 Reacting to Kristaps Porzingis' trade to Warriors22:58 How do Celtics approach the final day of the trade deadline? WATCH every episode of the Celtics Talk podcast on YouTubeFollow NBC Sports Boston:NBCSportsBoston.comX @NBCScelticsFacebookInstagramTikTok Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Ime tedna je postala Ajda Zavrtanik Drglin, vodja projekta Od rokopisa do besede, s katerim so v Narodni in univerzitetni knjižnici s pomočjo prostovoljcev in orodij umetne inteligence sistematično pregledali rokopise pesnika Srečka Kosovela. Pregledana zapuščina je zdaj v obliki tekstovnih prepisov v celoti objavljena na spletni strani Digitalne knjižnice Slovenije in na voljo javnosti. Kandidata sta bila tudi: Brane Čuk, dolgoletni jamar in tajnik Kluba jamarjev Kostanjevica na Krki, ki se jim je po več kot šestdesetih letih iskanja uspelo prebiti do podzemnega toka reke Studene. Ob tem so odkrili obsežen jamski sistem s kapniki in dvoranami, visokimi več deset metrov, ki po dosedanjih ocenah velja za verjetno največji podzemni jamski sistem na Dolenjskem.  Žiga Šeško, teniški igralec, ki je z zmago v finalu mladinskega turnirja Odprtega prvenstva Avstralije osvojil naslov v posamični konkurenci in Sloveniji priboril prvo moško zmago na mladinskih turnirjih za grand slam. V finale Melbourna se je uvrstil brez izgubljenega niza, z osvojenim turnirjem pa je naredil izjemen korak v svoji športni karieri in se vpisal med najpomembnejše dosežke slovenskega mladinskega tenisa.    

Today we discuss Alternative revenue streams for physicians! So what are some things doctors can do outside of the clinic to make some revenue? We discuss some things in this episode!   Alfred Atanda Jr., MD, is the director of the Sports Medicine Program, and a pediatric orthopedic surgeon and sports medicine specialist. He serves as assistant professor of orthopedic surgery and pediatrics at Sidney Kimmel Medical College of Thomas Jefferson University. Dr. Atanda is a graduate of the University of Pennsylvania School of Medicine, completed an internship and orthopedic surgery residency at the University of Chicago Medical Center, and fellowships in pediatric orthopedic surgery at Nemours Children's and in sports medicine at the Rothman Institute at Thomas Jefferson University. He performs arthroscopic surgery of the knee, elbow, ankle and shoulder, as well as general orthopedic and trauma surgical procedures. His research interests are in upper extremity overuse injury prevention and general orthopedic trauma. Recently, he has developed an interest in technology and digital health innovation and routinely uses telemedicine in his sports medicine practice. He is working with several stakeholders in the organization to re-imagine the process by which pediatric orthopedic patients are triaged, navigated, evaluated and treated during the continuum of their health care experience. Provides care in Wilmington, Del., and Abington, Pa.   We answer questions you may have on the things you will encounter when it comes to billing, like: What is an IME? Expert Witness + more

For individuals around the globe pursuing the dream of a new life in a different country, the immigration process is akin to a labyrinth — complex, multi-faceted, and often daunting. Among the various requirements and formalities that lay on this path, the Immigration Medical Exam (IME) stands out as a critical checkpoint, weaving into the fabric of public health and safety of both the host and immigrant countries. This comprehensive podcast episode aims to demystify the IME, taking you through its significance, the procedural nitty-gritty, and how to best prepare for this vital part of the immigration process.  

Hughley says, "Ime Udoka is the Draymond Green of coaching".. WHAT!? Udoka's temper FALRED a bit After the Rockets Overtime Loss Monday night vs the Nuggets.. Ime was BIG MAD at the Officials folks!

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Please visit answersincme.com/860/IME-69386-replay1 to participate, download slides and supporting materials, complete the post test, and get a certificate. In this activity, experts in NSCLC discuss how to harness targeted ADCs with practical, case-based insights to personalize care and improve outcomes in advanced lung cancer. Upon completion of this activity, participants should be better able to: Interpret the latest clinical trial data for approved and emerging antibody-drug conjugates (ADCs) in NSCLC; Recognize biomarker-driven strategies to guide treatment management in patients with NSCLC; and Apply evidence-based strategies for the individualized management of patients with NSCLC receiving ADC therapy.

We're coming to you live from Washington, D.C., at the Goldman Sachs 10,000 Small Businesses Summit—the largest gathering of small business owners in U.S. history. With more than 2,700 entrepreneurs in one place, the energy is electric, and the conversations are powerful. Among them is our guest, Brandon Dahms, owner of Innovative Manufacturing & Engineering (IME) in Des Moines, Iowa. Brandon's story captures what this summit is all about—growth, resilience, and transformation. After starting his career with plans to work in sports marketing, he took an unexpected turn into manufacturing and never looked back. Today, his 10,000-square-foot, lights-out machining operation runs nearly 24/7, serving as proof that automation, strategy, and strong leadership can turn even the smallest shop into a powerhouse. In this episode, we talk with Brandon about how the Goldman Sachs 10,000 Small Businesses program helped him refine his growth strategy, strengthen his company culture, and position IME for long-term success. We dive into what it's like to go through a program that feels like an "MBA for real-world business owners" and how it shaped his ability to pivot from a traditional job shop to a high-volume, automated manufacturer. We also explore the advocacy side of the program—how small business owners like Brandon are meeting directly with congressional leaders to influence policy on issues that affect manufacturers every day: workforce development, healthcare costs, and economic uncertainty. From his experience in the classroom to his conversations on Capitol Hill, Brandon shows how one voice can help represent the entire metalworking nation. If you've ever wondered how programs like this can truly impact your business—and why stepping outside your bubble might be the key to future growth—this conversation is one you don't want to miss. Segments (0:39) Grow your top and bottom line with CliftonLarsonAllen (CLA) (1:15) Recording at the Goldman Sachs 10,000 Small Businesses Summit (2:48) Brandon Dahms' origin story in metalworking (6:07) Why "Innovative Manufacturing & Engineering" stuck (and why it's a long email address) (7:17) Why apply for the Goldman Sachs 10,000 Small Businesses program? (11:13) Why the investment of time is invaluable—Brandon's personal ROI (12:40) Manufacturing's place in the conversation: explaining CNC to non-manufacturers (13:30) The Voices advocacy program: How advocacy efforts translate into real policy conversations (16:05) Navigating uncertainty: Tariffs, government shutdowns, and planning for growth (18:16) SMW Autoblok: automation and workholding innovation (19:28) Applying 10KSB lessons to IME—pivoting, culture, and core values (21:08) Pivoting from job shop to high-volume manufacturing and reshoring work (22:51) Presenting the capstone project (a real-world growth plan) (24:34) How networking led to new high-volume customers (26:53) Balancing capacity, growth, and selectivity in customer relationships (28:21) Hiring for core values first, technical skill second (and personality tests that help) (31:20) Aligning personal goals with company growth (33:07) How to apply for the 10,000 Small Businesses program and what to expect (34:45) How MakingChips' "Machine Shop MBA" series aligns with the same mission (36:44) Why the best ideas often come from outside your industry (38:00) Hire MFG Leaders—find manufacturing talent that fits Resources mentioned on this episode Goldman Sachs 10,000 Small Businesses Summit Connect with Brandon Dahms on LinkedIn Grow your top and bottom line with CliftonLarsonAllen (CLA) SMW Autoblok: automation and workholding innovation Hire MFG Leaders—find manufacturing talent that fits Apply for Goldman Sachs 10,000 Small Businesses Connect With MakingChips www.MakingChips.com On Facebook On LinkedIn On Instagram On Twitter On YouTube

K-beauty, skinimalismus i neurověda. Generace Z mění kosmetický byznys rychleji než kdy dřív. Mladí lidé od třinácti do osmadvaceti let se s přípravky chtějí identifikovat, musejí na ně dobře působit, musejí být trendy a esteticky krásné. „Doba se exponenciálně zrychluje, reagovat na trendy je nevyhnutelné, jinak nemáte šanci uspět,“ říká Martin Vrána, CEO italské společnosti Givet. Givet dnes působí ve 27 zemích, prodal přes šest milionů produktů a jen příští rok uvede kolem 500 novinek, od korejské skincare po parfémy. Jedním z nejsilnějších příkladů je parfém I/ME. Vznikal dva a půl roku a obsahuje technologii, která podporuje náladu. Umožňuje vrstvit vůně podle vlastní identity, a tím přesně odpovídá na touhu Gen Z vyjádřit sebe sama. Výzkumy potvrzují, že pro tuto generaci jsou zásadní estetika, design a emoce. „Na sítích to znamená, že pracují s algoritmy, které jim ukazují, co je pro ně relevantní. Úkolem značek je dostat se jim do feedu a stát se součástí jejich inspirace,“ vysvětluje Alice Jeřábková z NMS Market Research.

K-beauty, skinimalismus i neurověda. Generace Z mění kosmetický byznys rychleji než kdy dřív. Mladí lidé od třinácti do osmadvaceti let se s přípravky chtějí identifikovat, musejí na ně dobře působit, musejí být trendy a esteticky krásné. „Doba se exponenciálně zrychluje, reagovat na trendy je nevyhnutelné, jinak nemáte šanci uspět,“ říká Martin Vrána, CEO italské společnosti Givet. Givet dnes působí ve 27 zemích, prodal přes šest milionů produktů a jen příští rok uvede kolem 500 novinek, od korejské skincare po parfémy. Jedním z nejsilnějších příkladů je parfém I/ME. Vznikal dva a půl roku a obsahuje technologii, která podporuje náladu. Umožňuje vrstvit vůně podle vlastní identity, a tím přesně odpovídá na touhu Gen Z vyjádřit sebe sama. Výzkumy potvrzují, že pro tuto generaci jsou zásadní estetika, design a emoce. „Na sítích to znamená, že pracují s algoritmy, které jim ukazují, co je pro ně relevantní. Úkolem značek je dostat se jim do feedu a stát se součástí jejich inspirace,“ vysvětluje Alice Jeřábková z NMS Market Research.

SD323 - Domine as suas Finanças através do DRE. Neste episódio, Dr. Lorenzo Tomé conversa com os cofundadores da De$ifra, Marcos Suzano e Felipe Coelho, sobre a importância do Demonstrativo do Resultado do Exercício para o médico que quer ter controle real das finanças do seu consultório. Entenda por que acompanhar, conhecer e analisar seus números é essencial para não entrar na estatística dos 60% dos negócios que fecham em menos de 5 anos, aumentar sua lucratividade e reduzir seus custos. A De$ifra é uma empresa que cuida da saúde financeira do consultório médico a partir da integração do seu sistema exclusivo com o sistema Open Finance para o médico acompanhar lucros, custos e indicadores de forma simples, recorrente e sem burocracia. Pense nisso: "Não se gerencia o que não se mede, não se mede o que não se define, não se define o que não se entende, e não há sucesso no que não se gerencia." por William Edwards Deming O podcast Saúde Digital te ajuda a abrir a mente? Dois dias de imersão com a gente pode potencializar isso ainda mais e fazer muito pelo seu negócio médico. Garanta sua vaga com 10% de desconto na Imersão da SD Escola de Negócios Médicos nos dias 29 e 30 novembro/2025. Só clicar AQUI. Participe da comunidade SD Escola de Negócios Médicos. Acesse AQUI! Baixe nosso app: Android ou IOS O Background do Marcos Engenheiro de formação pelo IME, ele trabalhou no mercado financeiro por um tempo. Marcos fez um MBA em Michigan/EUA e trabalhou um tempo fora do país com M & A e contruiu uma carreira longa no mercado financeiro fora do país e no Brasil. Ele voltou agora ao país como diretor do banco suíço UBS.  O Background do Felipe Formado em Administração e com pós pela FGV, Felipe trabalhou como um BPO em empresas, estruturando suas áreas de finanças. Assista este episódio também em vídeo no YouTube no nosso canal Saúde Digital Podcast: AQUI! Acesse os Episódios Anteriores! SD322 - Médico, Quando é hora de abrir Seu Próprio Consultório? SD321 - Accountability do paciente: a nova fronteira do tratamento médico SD320 - Médico, comece primeiro, depois fique bom! Music: Climb | Declan DP "Music © Copyright Declan DP 2018 - Present. https://license.declandp.info | License ID: DDP1590665"  

Software baseado em inteligência artificial, desenvolvido em parceria entre HC, IME e Amazon, pretende acelerar decisões judiciais na saúde

Welcome to NBA Today, I'm Vanessa Richardson, in for Malika Andrews. Joined here today in our LA studios by senior writers Tim Bontemps, Ramona Shelburne, and Andscape's David Dennis Junior. We recap Houston's high-flying Summer and spotlight EXACTLY how KD fits in with the likes of Ime udoka, aperen Sengun, and Amen Thompson. Did you know New York ranked 26th in pace of play last year? We've got the latest on Mike Brown's plans to overhaul the Knicks offense. It's national thread a needle day so you KNOW our producers dug-in to find the tightest tight-window dimes of all-time! A special top of the top is NEXT! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to NBA Today, I'm Vanessa Richardson, in for Malika Andrews. Joined here today in our LA studios by senior writers Tim Bontemps, Ramona Shelburne, and Andscape's David Dennis Junior. We recap Houston's high-flying Summer and spotlight EXACTLY how KD fits in with the likes of Ime udoka, aperen Sengun, and Amen Thompson. Did you know New York ranked 26th in pace of play last year? We've got the latest on Mike Brown's plans to overhaul the Knicks offense. It's national thread a needle day so you KNOW our producers dug-in to find the tightest tight-window dimes of all-time! A special top of the top is NEXT! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Saviez-vous qu'en France, on estime que 2 enfants sur 100 reçoivent un diagnostic d'autisme ? Avec des diagnostics souvent tardifs, vers l'âge de 7 ans, alors qu'ils pourraient être posés dès 18 mois selon l'Institut National de la Santé et de la Recherche Médicale.Dans ce 5ème épisode de notre hors-série spécial Neuroatypie, nous plongeons dans l'univers complexe et fascinant du Trouble du Spectre de l'Autisme (TSA) en compagnie de Christèle, experte engagée auprès des enfants neuroatypiques.Après 25 ans d'expérience dans l'enseignement, Christèle s'est spécialisée dans l'accompagnement des enfants neuroatypiques et de leurs parents. Elle est la créatrice du blog "Zatypique", et a travaillé au sein d'écoles ordinaires, ULIS, et IME. Forte de son expertise, elle a choisi de quitter l'Éducation nationale pour mieux servir sa mission d'inclusion et de soutien.Christèle partage ses expériences personnelles et professionnelles, soulignant l'importance de la structuration spatio-temporelle et des méthodes d'apprentissage adaptées. Un épisode essentiel pour toute personne souhaitant mieux comprendre ce trouble et comment soutenir les enfants qui en sont atteints.Nous abordons avec elle plusieurs pistes de réflexion :▶️ Les stéréotypes limitants sur l'autisme▶️ La formation du personnel éducatif pour reconnaître et accompagner les enfants neuroatypiques▶️ L'inclusion : Les enfants autistes représentent une richesse pour notre société. Leurs différences doivent être comprises et respectées.Les sujets abordés :→ Définition et nuances du TSA par Christèle (02:27-04:43)→ Les formes variées d'autisme (04:43-09:23)→ Le défi des diagnostics précoces en France (09:23-10:50)→ Méthodes pédagogiques pour soutenir les enfants autistes (11:04-17:50)→ Favoriser l'inclusion scolaire (17:50-21:49)→ Déconstruire les préjugés et idées reçues (21:49-23:51)→ Implications génétiques et environnementales (06:16-07:53)→ Conseils pour enseignants et parents (24:12-30:35)→ Enjeux actuels de la scolarisation des enfants autistes (30:35-32:53)→ Sensibilisation de la population sur le TSA (32:53-33:57)Ressources : le site "Zatypique" animé par ChristèleEnsemble, changeons notre regard sur l'autisme et travaillons à bâtir un environnement éducatif inclusif et bienveillant.

Wiggy and Curtis argue who's a better coach: Mazzulla or Ime? // Wiggy says not to worry about the Celtics' recent woes ... // Greg flexes because when he got to EEI the old heads poo pooed Twitch //

Wiggy and Curtis argue who's a better coach: Mazzulla or Ime? // Wiggy says not to worry about the Celtics' recent woes ... // Greg flexes because when he got to EEI the old heads poo pooed Twitch // Courtney can't fathom rooting for the Eagles because their fans are douches // The new Jaguars HC has an all time cringe worthy moment...duuuuvvvaa // The News With Courtney: There are earthquakes in these here hills // Intense discussion over the most popular apps for the Super Bowl // Courtney and Curtis go at it over Curtis' alleged hate for Mazzulla // PSA: Don't use your baby to wipe snow off your windshield // Ty Law joins, says there's no way in hell you can bet against Mahomes // Another "segment of the morning show" from our favorite Hill Mailer .. // Wiggy doesn't like the bye week before the Super Bowl //

Alf is joined by Franky G and Kyle Scarlett as they talk about -Niko hits the dagger -Ime, Amen, Jalen, Tyler and Terry hit the showers after a brawl -Breaking down the skirmish -How did terry miss a wide open layup? and much more! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send Everyday AI and Jordan a text messageAI is just for keyboard smashers, right? Not really. When it comes to Generative AI, there might be another vertical ripe for disruption: frontline workers. How can Generative AI make their lives a bit easier? AI Lagunas, Co-Founder of Levee, joins us to discuss.Newsletter: Sign up for our free daily newsletterMore on this Episode: Episode PageJoin the discussion: Ask Jordan and AI questions on AIUpcoming Episodes: Check out the upcoming Everyday AI Livestream lineupWebsite: YourEverydayAI.comEmail The Show: info@youreverydayai.comConnect with Jordan on LinkedInTopics Covered in This Episode:1.  Al Lagunas's Background2. The Levee App3. Challenges and Solutions in Automating Tasks with AI4. Technology Adoption5. Use of AR/VR in Employee Training6. Gen AI's Role for Frontline WorkersTimestamps:00:00 Generative AI's impact on frontline workers discussed.03:29 AI models may deceptively mislead developers' intentions.09:30 Product not suited for hotel workers' needs.12:44 Big brands ensure consistent guest experience standards.13:52 Helping housekeepers maintain room standard efficiently.19:19 Addressing blue-collar labor shortages with software.20:11 Gather data, use AI tools, support workers.26:25 Deploying user-friendly tech for frontline workers.29:30 "Early investment foresight enabling AR/VR advancements."31:32 Educate users creatively, using gamification incentives.34:40 Gen AI simplifies routine tasks for efficiency.Keywords:Al Lagunas, IME sensors, smart cleaning model, hotel cleaning tools, DoubleTree, hotel room cleaning, Levee app, AI for cleanliness verification, brand standards, Marriott, Hilton, housekeeping workload, Jordan Wilson, intrusive technology, AI for mindless tasks, worker shortage, new job opportunities, AI integration, hardware adoption, AR/VR glasses, employee training, AI adoption resistance, hotel operations efficiency, labor shortages, robotics and AI, Gong sales process, generative AI, Gen AI, Levy fundraising, AI for frontline workers. Get more out of ChatGPT by learning our PPP method in this live, interactive and free training! Sign up now: https://youreverydayai.com/ppp-registration/