Podcasts about milojevic

00:24 Wie lange bekommt Tuchel noch? Onana bei FCB auf dem Zettel 03:33 Kann Leverkusen Tah halten? 04:48 Moukoko-Wechsel im Sommer möglich 07:48 Exklusiv: Simakans XXL-Klausel enthüllt 09:16 Verlängerung? Henrichs will noch EM abwarten 11:10 Trainerkarussell : Letsch weg - was wird aus Dardai und Anfang? 16:34 Gallisches Dorf mit Strategie: Heidenheims Transferpläne - Beste will international spielen 22:43 Muss Undav zurück zu Brighton? 24:10 60 Sekunden, 6 Namen: So steht es um Osterhage, Milojevic, Veratschnig, Bonmann, Jung und Medic 25:36 Viele Optionen für Ouédraogo 26:25 Wanner-Plan im Sommer: Leihe in Bundesliga 27:39 Ivan Toney plant Wechsel - Brentford fordert 40. Mio Pfund

Ndiaye and Kanga's resurgence under Milojevic, alongside the emergence of bonus players, has sparked intrigue, yet Kosta Nedeljkovic's absence raises questions. Speculation swirls regarding In-beom Hwang's potential departure from Red Star in the upcoming transfer window #Sports #SportsPodcast #Sport #SportPodcast #FKCZ #CrvenaZvezda #FKCrvenaZvezda #RedStar #RedStarBelgrade #Soccer #SoccerPodcast #Football #FootballPodcast #Serbia #Srbija --- Send in a voice message: https://podcasters.spotify.com/pod/show/blagoblabberpodcast/message

This Audio Description Network Alliance series interviews your favorite audio description professionals for movies, series, and more.

Uncoded Radio Present Switch CodeMix by Karmina Milojevic Exclusive Mix. Website : https://www.uncoded-radio.comUncoded Radio 24/7 Non-stop Amazing Underground Music© 2024 Uncoded RadioPowered by Switch EntertainmentHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Draymond Green discusses the tragic death of Warriors assistant coach Dejan Milojevic, the Pascal Siakam trade from the Raptors to the Pacers, Kevin Durant's comments about wanting to be in the GOAT conversation, Kevin Garnett's comments about the lack of intensity in the new generation, and the budding Anthony Edwards vs. Shai Gilgeous-Alexander rivalry.  0:00 Start 1:45 RIP Decky 14:00 Pascal Siakam trade 23:00 KD's comments 31:00 KG's comments #Volume #HerdSee omnystudio.com/listener for privacy information.

Draymond Green discusses the tragic death of Warriors assistant coach Dejan Milojevic, the Pascal Siakam trade from the Raptors to the Pacers, Kevin Durant's comments about wanting to be in the GOAT conversation, Kevin Garnett's comments about the lack of intensity in the new generation, and the budding Anthony Edwards vs. Shai Gilgeous-Alexander rivalry.  0:00 Start 1:45 RIP Decky 14:00 Pascal Siakam trade 23:00 KD's comments 31:00 KG's comments #Volume #HerdSee omnystudio.com/listener for privacy information.

Draymond Green discusses the tragic death of Warriors assistant coach Dejan Milojevic, the Pascal Siakam trade from the Raptors to the Pacers, Kevin Durant's comments about wanting to be in the GOAT conversation, Kevin Garnett's comments about the lack of intensity in the new generation, and the budding Anthony Edwards vs. Shai Gilgeous-Alexander rivalry.  0:00 Start 1:45 RIP Decky 14:00 Pascal Siakam trade 23:00 KD's comments 31:00 KG's comments #Volume #HerdSee omnystudio.com/listener for privacy information.

After a Champions League campaign that fell short of expectations and a setback in a crucial match against arch-rival Partizan, Red Star made the decisive move to part ways with Barak Bakhar. The managerial reins have now been handed over to the seasoned Vladan Milojevic, who returns to guide the team once again. In the wake of these changes, speculation looms over potential departures during the upcoming transfer window, while certain players eye a second chance under Milojevic's leadership. Join me as we delve into the anticipated moves and the players who might find redemption in the new era at Red Star. #RedStar #RedStarBelgrade #FKCZ #FKCrvenaZvezda #CrvenaZvezda #Soccer #SoccerPodcast #Sports #SportsPodcast #Sport #SportPodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/blagoblabberpodcast/message

Uncoded Radio Present Switch CodeMix by Karmina Milojevic Exclusive Mix. Website : https://www.uncoded-radio.comUncoded Radio 24/7 Non-stop Amazing Underground Music© 2023 Uncoded RadioPowered by Switch EntertainmentHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode of the podcast, we have two special guests joining us: Vladimir Jankovic, former Omonoia Assistant Coach, and Marin Orsulic. Together, they reminisce about their time at the club during the 2015/2016 season, sharing their experiences and memories. Vladimir and Marin start by discussing their arrival at Omonoia and the impressions they had when joining the team. They highlight the exceptional skills and talent of players like Nuno Assis, praising his abilities on the field. Additionally, they shed light on the remarkable personality of Cillian Sheridan, another player who made a significant impact on the team. As the conversation progresses, Vladimir and Marin drop some surprising revelations about the decisions made by Sporting Director Nikos Dabizas, which heavily affected the playing staff. These revelations raise eyebrows and create intrigue, leaving listeners eager to hear more details. Vladimir, in particular, reflects on the disappointing 2-1 loss in the cup final against Apollon. He expresses his belief that if he and Milojevic had continued to lead the club into the following season, they could have made significant progress and taken the team to new heights. Throughout the episode, Vladimir and Marin share personal anecdotes, provide behind-the-scenes insights, and offer their unique perspectives on the events that unfolded during their time at Omonoia. This episode promises an engaging and thought-provoking discussion for football enthusiasts and fans of the club alike.

Uncoded Radio Present Switch CodeMix by Karmina Milojevic Exclusive Mix. Website : https://www.uncoded-radio.comUncoded Radio 24/7 Non-stop Amazing Underground Music© 2023 Uncoded RadioPowered by Switch EntertainmentHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

On this episode we interview artist Ivana Milojevic. We talk about finding symbolism in your creative materials, adapting to a new culture, overcoming hurdles, adapting to a new culture, and trusting yourself in your creative process. Stay Connected with Ivana: https://www.ivanamilojevicbeck.com https://www.instagram.com/ivanambeck Episode Blog Link: https://www.jaclynsanders.com/blogpodcastepisodes/podcast111 Sign up for our studio newsletters at: https://www.AmeighArt.com https://www.JaclynSanders.com https://www.levelupartists.com Connect with us on Instagram: https://www.instagram.com/AmeighArt https://www.instagram.com/JSandersStudio https://www.instagram.com/LevelUpArtists Music by: https://www.coreyclaxton.com Watching or listening to one of our earlier episodes? In 2022, the Art Studio Insights podcast was renamed the Level Up Artists podcast!

JUST NU: Allsvenskan - din nya dagliga nyhetspodd om allsvenskan. Varje dag får du senaste nytt och analyser kring vad som händer i vår inhemska liga. Gänget bakom Fotbollskanalen i Stockholm, Göteborg och Malmö finns med er varje dag. Missa inte JUST NU: AllsvenskanAnsvarig utgivare: Alexander Rosenlund Hosted on Acast. See acast.com/privacy for more information.

This weekly Audio Description Network Alliance series interviews your favorite audio description professionals for movies, series, and more.

As you know, this podcast is entitled “Unstoppable Mindset” with the tag line “where Inclusion, Diversity and the unexpected meet”. This episodes represents for me one of the most unexpected sessions I have done. I first heard from Tanja Milojevic through LinkedIn. I did not know at the time she was a person who happened to be blind due to the same circumstances that befell me. I discovered this and so much more about Tanja when we finally met to discuss her coming on Unstoppable Mindset.   Tanja was born in Serbia as a premature birth. She was given too much Oxygen that effected her eyes and lead to her being blind. She permanently relocated with her family to the U.S. at the age of five. You get to hear her whole story including how she learned to function successfully in high school, college and beyond.   Our discussions in this episode include much about her life and successes. We also get to talk about one of my favorite subjects, audio drama.   Tanja's insights will help you learn not only much about blindness, but about life in general. I hope you enjoy Tanja's stories, observations, and thoughts.     About the Guest:   Tanja Milojevic Biography   I was born in Serbia as a premature baby. I had retinal detachment as a result of the incubators and was diagnosed with retinopathy of prematurity at the age of one. I then had several surgeries on both eyes to restore some vision which were partially successful. These surgeries took place in the United States.   I permanently came to live in the U.S. at the age of five when I was diagnosed with open and close angle glaucoma in both eyes. My medical visa helped me make a permanent home with my family near Boston where I began my mainstream public education.   Advocacy is important to me. I attended public school all my life and that required learning my rights and advocating on my own behalf along with my family. I wanted to learn braille at a young age even though I was able to limp along by struggling with print on my video magnifier. I was aware at that time that my vision would deteriorate over time and I'd lose all of it later in life; thus learning braille and mobility were early self-imposed goals in preparing myself for the gradual transition. I pushed the school system to take a dual learning approach and provide me print/braille materials. My supportive family helped me advocate from a young age and I got involved in my IEP meetings as a teen, which proved invaluable.   I advocated in high school and college to improve the experiences for other students who were blind or visually impaired coming into those institutions. My former TVI tells me these students' lives were much easier after I left because of I urged the school to buy braille translation software, the JAWS screen reader, scanning software, and an embosser. My use of JAWS from eighth grade onward gave me the technology skills I needed later in life and I believe future students should have that early opportunity as well.   I received my guide dog Wendell just before entering college. He was from the Seeing Eye and was a golden lab. Wendell and I were best friends and everyone I met fell in love with him, he was so human-like. My puppy was always a magnet for people and I had no trouble making friends and getting places safely, night or day, rain or shine.   Wendell accompanied me while I attended Simmons College, where I thrived and enjoyed the supportive community, clubs and events. My communications professor pushed me to pursue working at the college radio station where I improved my audio production and on-air skills. He saw audio potential in me--the perfectionist who always strived for improvement. The creativity was flowing and I began to make my own radio dramas. My podcast Lightning Bolt Theater of the Mind was born at that time and thrives today. My love of radio drama stemmed from an accidental discovery of the radio drama Pet Cemetery on tape back in high school.   Making the lives of people who are blind and visually impaired easier and better are objectives that continue to be part of my life. My internship at the Constituent Services Office under Massachusetts Governor Deval Patrick was challenging and taught me a lot about issues families were facing across the state. I provided feedback on audio description quality during my WGBH Media Access Group internship and learned about ACB's Audio Description Project at that time. My Easter Seals internship provided me the opportunity to take part in the Thrive program, where I mentored a teenager with visual impairment and provided her with transition resources, confidence, and guidance.   I shadowed advocates at the Disabled Persons Protection Commission when I interned there and compassionately assisted vulnerable clients. Individuals with disabilities oftentimes face financial control and abuse in many cases and DPPC helps them take the steps they need to stay safe and resume their lives in a better situation. These experiences stuck with me as I advocated to take radio communications in college and learned the skills to become a professional voiceover talent. I graduated from Simmons College in 2012 with a double minor in Radio Communications/Special Education Moderate Disabilities and a BA in English Writing.   I moved on to UMASS Boston where I had the opportunity to work with the Carroll Center for the Blind and Perkins School for the Blind, to teach adults with visual impairments how to be more independent. I taught these students how to cook, clean, access technology, organize, launder clothes, read braille, learn about needed resources, and take part in leisure activities. The best part was seeing their confidence grow and the self-doubt lessen. I made their lives easier and better by increasing their self-image, confidence, advocacy skills, and independence. However, while attending graduate school, I had some accessibility challenges, but I pursued my Master's degree anyway. I struggled through the process by working with professors to complete my courses with high grades and finally graduated with a Master's in Vision Rehabilitation Therapy from UMASS Boston's Vision Studies Program.   My work at the Perkins Library has been outlined by Ted Reinstein on The Chronicle documentary TV program. It follows my braille production work at Perkins and my voiceover endeavors. I had seven years of experience providing braille and large print to a wide variety of organizations and individuals. Perkins offered many opportunities which I utilize to network: I try new devices when demonstrated, input ideas to MIT students for new technologies, and tested websites/software for various Perkins Solutions clients. My voice over freelance work allowed me to meet many friends and producers which organically lead me to the path of audio description narration work. I now work with X Tracks, International Digital Center and audio Eyes to name a few. Giving back to the blindness community by bringing more quality audio description to the ear is personally rewarding and I'm honored to be able to help advocate further in this field of access.   Further enriching my life experience, my current guide dog, a yellow lab named Nabu, and I were partnered in February, 2017. It didn't take long for our bond to form, and now she and I travel together everywhere. She's a beautiful and loving dog and it's no trouble meeting people with her participating in my adventures. We work closely every day and she rarely leaves my side.   That brings me to the present. In June of 2022, my partner and I founded GetBraille.com, a braille production company where we produce literary braille, large print, and audio materials to all who need them. This on-demand service will make it easier for schools, organizations, restaurants, and individuals to request quality braille at affordable prices. We always provide quotes and project consults at no cost. Our future goals include developing multi-sensory educational materials and assistive technologies for those with print disabilities that we wish had been available to us. Offering work to others who are blind and visually impaired is important to us as we grow; we look forward to the bright future a   How to connect with Tanja: Email me at tanja@getbraille.com Visit our Get Braille website at: https://getbraille.com/ Visit my voiceover website at https://www.tanjamvoice.com/ Find me on Facebook at https://www.facebook.com/tanja.milojevic.37 Check out my linked in profile at https://www.linkedin.com/in/tanja-milojevic-94104726/     About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.     Michael Hingson  01:20 Welcome once again, we're glad you're with us. And you have in case you're wondering, reached unstoppable mindset, the podcast where inclusion, diversity and the unexpected meat. I'm Mike Hinkson, your host and today we're interviewing Tanja Milojevic. And Tanja has a varied background. She is involved with a company called Get Braille. She's a voice actress. And she's going to tell us about the rest. I looked at her bio, and it's a nice long bio. So there's a lot of data there. So rather than putting all of that here in the podcast, Tanja gets to talk about it. How about that? Anyway, Tanja, welcome to unstoppable mindset. How are you?   Tanja Milojevic  02:01 I'm doing well, Michael, thank you so much. And it's Tanja. But Tanja a lot of people think that I think it's   Michael Hingson  02:09 well once again, like I should have asked because like with with  Milojevic. I, I just listened to what Josh said. And it said, Tanja, so Tanja.   Tanja Milojevic  02:20 Yeah. Thank you so much for having me on the show. I'm really excited. And of course, with your story being so inspiring, too. I, you know, I look forward to helping the community itself and in many different ways, including providing Braille access, and easier Braille access, more affordable, quality, all that fun stuff, and of course, contributing to the world of voiceover and AI voice cloning.   Michael Hingson  02:46 Well, let's start with kind of your history. Tell us about growing up and where you were born and all of that stuff.   Tanja Milojevic  02:54 So I was born in Serbia, I came here to the US at the age of five and a half, because I needed some various surgeries. Honestly, when I was born, I was a preemie premature baby and I had run off the prematurity. So we needed to perform surgery right away, to see if we could reattach the retinas. They had been detached due to the oxygen, the incubator. So my mother was able to gather enough money, fundraise and bring me here to the US at the age of one, we had the surgery that was very successful. And then we came back to the US periodically to get eyedrops medication and check in. By the age of five, these checkups were so frequent that we decided to settle in the US, it made a lot more sense to do that a lot more cost effective. So that's what we did. And I went to public school here, I have the fortune of getting all of my schooling here in the US, and then many other opportunities as life went along its journey. So I was a dual learner in school, I did large print Braille. And then of course, when screen reading technology was more easily obtainable. A lot of audio, JAWS, voiceover all that fun stuff. And I'd say my vision,   Michael Hingson  04:14 able to do much but give your age away. But when were you born what year   Tanja Milojevic  04:18 1989.   Michael Hingson  04:19 So by that time, by that time, ROP was pretty well known. So there was no choice but to put you in an incubator with pure oxygen or what?   Tanja Milojevic  04:34 Well, I mean, you're looking at not a third world country, but but definitely a country that was economically struggling with the war going on and such. And the care really wasn't equal access to everyone and it's sort of like, what you could get into, you know, what opportunities were available to you. And at the time, they had all these premature babies in incubators, that was just the way it was done. They didn't have enough They have to really monitor and I sort of question whether or not much of the staff really cared all that much about it. It's not like you could go to court and sue them and really get anywhere because they would lock you out of the courtroom. So with limited opportunities, you kind of took what you could get.   Michael Hingson  05:18 Yeah. Well, having been born in 1950, when ROP or at that time, rLf was not nearly as well known or certainly not accepted. Although it had been offered as a reasonable issue dealing with premature babies. It still wasn't totally accepted by the medical profession. And I've heard that there were people born around that time who like 30 and 40 years later sued and won. And I always felt, why would I want to do that? If the doctor didn't really know, or wasn't that well known? What are we gonna do by filing lawsuits other than destroying lives, which doesn't make any sense because my life was not destroyed, it just went a different way.   Tanja Milojevic  06:03 Right? I mean, that's a great way to look at it. And I see it as a blessing in disguise, because it was a great opportunity to bring my family over one at a time close family and get them jobs here. Well, not that I got them jobs, but they were able to have the opportunity to better themselves, their situations, and so on and have family here, which is a much more attractive alternative than being in a country that's economically struggling, war torn, etc. At the time, we got out of that conflict, just just in time, because it gotten worse from there, obviously. So having the opportunities to have public education here. All of the various services that were offered here, at the time was just unheard of. The School for the Blind that existed in Serbia was very 1800s, maybe 1950s style, institutional, like dark rooms dirty, just not a place you want to be. So yeah, it's a great, great opportunity for us. So I That's how I see it, instead of worrying about lawsuits and trying to get revenge or whatever.   Michael Hingson  07:14 Which makes perfect sense. Which makes perfect sense. Do you Do you have siblings?   Tanja Milojevic  07:19 I do I have an older sister. We're 17 years apart. So kind of the running joke is she's my mom. Sometimes, you know, state, we go to the certain know your mother can help you with this. Like, this is my older sister. But don't say that to her. She'll be offended.   Michael Hingson  07:36 Your big sister.   Tanja Milojevic  07:38 My big sister.   Michael Hingson  07:39 Yeah. Yeah, that works better. Yeah. So you say you did get some eyesight back from the operations? And yeah, how did that work for you in school?   Tanja Milojevic  07:52 I it was, in a way, it sort of got me into trouble. Not that I wasn't grateful for having the vision, it was just that my teachers were like, well, she can read large print, you know, and if we magnify them enough, and give her the video magnifier, or they call it a CCTV of CCTV, as it's called the video magnifier, but they gave me access to one of those like, well, she doesn't need Braille. Because first of all, we have to pay a whole ton more, we got to pay another person to come in here and work on Braille. And whenever she can give, just get by with large print. And it was a struggle, because after 45 minutes of trying to see the larger text, it hurt my you know, I get a headache, my eyes would start tearing, I might neck, shoulders all that you'd get uncomfortable sitting in in such a weird position for that long. So we had to fight with the school to get them the public school to get them to agree to get me Braille services, so that I learned braille and print and had both in my toolbox, if you will. But also, I would argue that the language barrier was just as much of a hindrance as maybe the lack of understanding of, hey, this is a dual learner. Because when I first started first grade, they put me in a school that was like more special ed versus some teaching someone who's blind, it was more like they had kids with various disabilities. And so the teaching style wasn't a good fit for me. I did learn English and like grade one Braille, which is for anyone that's listening that may not know, is uncontracted Braille. It's long form, you write everything out a letter at a time versus using contractions and the lead condensed bro, which saves a lot more space. So I knew that but it wasn't a great fit because I wasn't being challenged enough. And one of my teachers found that out first grade, and they pushed for me to get moved to a different public school, where it was more of a general ed system. So So I had a year where I was kind of like, stuck in first grade for two years. In a way that was good because I had a chance to learn more of the language and Braille at the same time. And then I was more prepared to move on with the curriculum. But in a way, it also sort of held me back and was a little bit awkward for me, because I was like, Wow, I'm older than these kids here in my class. So a couple of different challenges. But the way that I like to look at it is that the more skills you can gain from tough spots, you're put in, the better problem solving skills you might have or advocacy for yourself later in life, especially if you see that. It's just simply a matter of miscommunication. And as long as you explain things to to folks around you correctly, in a way that resonates with them, it's got to resonate with them, it can't just make sense. They've got to sort of personally understand what it is that you mean, and see the struggle, I guess, if you will, then you're better off doing it that way, then   Michael Hingson  11:01 what do you what do you mean? What do you mean by that? Can you kind of explain I I'm not sure I follow totally.   Tanja Milojevic  11:07 So a general education teacher is busy, they don't have the time to stay after school every day with you and work on extra things. If you can prove to them that giving you an assignment ahead of time, or giving you the notes on the board, or maybe even expressing to them what's confusing about you and setting a time that works for them, you're going out of your way to show that you're dedicated to their class, they personally need to show that their students are succeeding, or they're going to have to explain why it is that that they've got so many struggling students. They're responsible for many kids all at once, and you're just adding more stress. So the more solutions you can provide to them, the easier their life is, and their job is. And the faster they can get out the door because we all have lives and families and yeah. So proving to the school through anecdotal evidence that this is hiring someone else is just going to present their teachers with less obstacles is the way to go. At least for me, from my experience, well, showing effort showing evidence, and it worked. Yeah, yeah, eventually.   Michael Hingson  12:23 Well, how did the teachers react as you started to explain, I would assume that that helped.   Tanja Milojevic  12:29 It did help. I did run into some other snags where the teacher of the visually impaired I was working with at the time, had a lot of her own issues in her own life, day to day. So you for math and science, and so on, I was writing my showing my work writing a lot of the answers in Braille, leaving some space, so double spacing everything so that she could interline it with print, which means writing the print above the Braille line. So then the teacher could go ahead and read it, it was an extremely antiquated way to do it at the time, that was the option. Now, of course, we've got all kinds of technology and Google shirt, you know, Google Sheets, and whatever, all this other more efficient ways to do it. But the point is that it took her a couple of weeks to get these assignments back to my general education, math teacher, for example. And that slowed me down. Because I'd fall behind, I'd be maybe a chapter behind everybody else, I'd still have to pay attention in class, but they were well ahead of where I was. So you know, I was I was having a hard time keeping up. This was like for fifth grade. But it was just another exercise in workarounds and figuring out how else we can do this, I'd show my work and print on the CCTV instead of the Braille, I would find ways to print out material that I wrote off of my something called a Braille note or a Braille light at the time, which is just like a small computer, essentially, that has a Braille display, you can feel one line of brela at once. It's electronic, it stores files, you can change the file format, and I print out my stuff. So I came up with a couple of faster ways to do it.   Michael Hingson  14:19 And what it's what it's actually called as a refreshable Braille display because as new lines display, or new lines are called for the dots pop up representing those lines. So the display constantly refreshes for those who don't understand that. So it's a way of now producing Braille in a much more portable way. That one disadvantages is Tanya's describing it. You only get one line at a time because it's a very expensive process. The displays are not inexpensive to do so. Over time, hopefully we will find that someone will develop a really good full page braille display but that's a waste is off.   Tanja Milojevic  15:01 Yeah, it's still pricey technology. I really there get away from sins?   Michael Hingson  15:08 Yeah, we need to do something different than we do.   Tanja Milojevic  15:12 Definitely the pins get dirty Rogen, etc stuck, and it's very expensive to replace them. Yeah, that's part of the hindrance there.   Michael Hingson  15:21 But it is still a lot more portable than carrying a number of volumes of Braille books. I remember when I was in school, when I was in school I we ordered a catalog case from Sears the catalog case literally was a case where you would put catalogs and carry them around, if you were selling things, you could take catalogs to people, you could put a bunch of catalogs in this case, in my situation, we used to, to so that when I went school, I can carry some Braille books. And I got three or four volumes of Braille. So that carry Braille for a few subjects. But, of course, very bulky, very complicated, not easy to do, and certainly not refreshable.   Tanja Milojevic  16:06 Not at all, I did that for math, science history, especially a lot of the charts. The way that they did it was they'd have thermoform charts, and all the rest of the text was done in Braille. And so you had like not only the volume of the chapter, rail text, if you will, but you also have a separate volume you're carrying, that has all the reference figures associated with that chapter. So you're carrying two volumes, as opposed to where you could just have 213234 Sometimes,   Michael Hingson  16:38 and for those objects. And for those who don't know what thermoform is thermoform is a process where you create an original of something, whether it be drawings, or even documents on paper, and then you buy a machine called a thermoform machine, you put a blank piece of plastic in the machine, lying on top of the Braille sheet, the original Braille sheet, you activate it, and a vacuum pulls down the two sheets together the Braille with plastic on top of it, while it heats them. And the plastic then takes on the shape of the Braille document below it. So it's a way of relatively quickly producing a number of copies of a braille book or, as Tonya said, that, in her case, the diagrams and so on, of course, it's still not inexpensive. And thermoform isn't like using your fingers to read Braille pages, the plastic feels different in it, it's a little more awkward to use. But still, it was a fast way to get Braille comparatively speaking.   Tanja Milojevic  17:43 That's definitely true. The main issue with thermal warm is your fingers eventually go numb, because it's a glossy type paper. And if your hands are sweating, it can inhibit your ability to run your fingers across the page. So that makes your hands go numb faster. So sometimes putting some sort of powder on your hands can help. But well, the drawback to that is it dries your skin out. So there's always positives, and not so much to that process. But it is a more inexpensive way to produce tactile graphics.   Michael Hingson  18:21 See you sighted people think that you have problems in dark rooms trying to read stuff. You're not the only ones who have reading problems. We all have our challenges, don't we?   Tanja Milojevic  18:32 Oh, for sure. All sorts of creative challenges that we constantly iterate on to improve.   Michael Hingson  18:39 And we do iterate and we do improve, which is of course the real point of the whole process. So you went off and you went through school, when Where were you living in Boston or where?   Tanja Milojevic  18:53 So we were living in initially when came to the US. We lived in South Boston for a bit. Then we moved to Chelsea, we were there for about 10 years than ever. And then now I live in Peabody, but relatively same area   Michael Hingson  19:05 of the country spent. I spent three years in Winthrop. Oh, East Boston. So nice. Yeah, that's a nice area. Yeah. It's fun to be there. Well, then you you went on from school to college?   Tanja Milojevic  19:21 Yeah. I went to Sundance for my undergrad. And I studied communication, special ed and writing literature specifically. So that was a great experience. Their disabilities office was extremely helpful. I initially before applying to various colleges. I did a couple of interviews with their disability center. Couple of phone calls, I wanted to get an idea for myself of what their process was, and how willing they were to talk to me about it. So the fact that Simmons was not only transparent about their process, but also willing to answer any questions And when I'm not even a prospective student, yeah, told me a lot. So yeah, I did have a good experience.   Michael Hingson  20:06 So what did they do or say that caused you to like their office in their process, compared to other places that you observed?   Tanja Milojevic  20:16 Well, I mean, for one, it wasn't some email that was automated, or, like, a, I don't know, now, now, I guess you could joke and say, they're gonna send you to a half an hour recording that you have to watch. It wasn't anything like that, where they were just trying to automate everything. I spoke with the, one of the directors of the Disability Center there at the time. And I asked all kinds of questions like how far in advance, would you need these books, if, if that process falls through, if the professor changes the books or a new professor comes into the class, because these things happen all the time, you know, depending on what happens in life. They told me, Well, that's, that's okay. If the book changes, we can work with you, the publisher, or you can try to purchase the book, Online used. And then we can just scan a chapter at a time, if the crunch time is on. And you've already started the semester, get it to you within a week, as long as we have a syllabus, and we know what the timeline looks like for these chapters. And then we bring in the professor and make sure they understand there's a Letter of Accommodation, the professor has to sign that and understand what they're reading. And then if they cause trouble later, you can point to the letter and say, I'm not making this stuff up. There's evidence to support that I need this accommodation for this reason you signed off on it, can we work together on this, and it cuts that cumbersome, miscommunication down quite a bit when you do it that way. So the fact that there are several processes in place made me feel a lot better. I'm a kind of person that likes to have plan A through like E or F, just in case, as, as we know, with tech issues nowadays, we gotta have multiple options. One of the things, the confidence, there was really what drew me to, you know, they knew what they were doing, they were confidently able to answer my questions. They understood why I was asking them, they weren't getting annoyed that I had 50 questions. And that's really what sold me on it, if   Michael Hingson  22:25 you will. One of the things that I experienced when I was at UC Irvine, was our office basically said, we're here to help you and be the muscle and power if you get a lack of cooperation from professors and so on. But if you need material transcribed, or whatever this is, of course, long before offices became more organized, but you'll probably need to be the person to find the appropriate transcribers. Well, I worked with the California Department of Rehabilitation, we found transcribers and we found people to do that work, because the office didn't do it. But what the office basically said was, you need to learn to do this stuff anyway. Because we're not here and other offices and facilities aren't here, when you go out on the job,   Tanja Milojevic  23:21 right? That's a huge consideration is whether or not you're able to easily find people that can transcribe, especially if it's like a math class. So I'll tell you, in college, I avoided languages math, hardcore, because after high school, I had lost, you know, like, you don't just have that library available to just order from the Ames library, which is a common library that school systems use to borrow various textbooks for students. Once you hit college, you're kind of on your own in terms of finding out how you're going to accommodate these tougher classes. I math wasn't my favorite subject. So I tried to avoid that in high school, I took Spanish in German for languages. And because I had done that, there was a possibility for me to take multicultural electives in that place in place of that. And I took a test to opt out of like, the generally because my, my major didn't require math. So I opted out of that by taking a math test. And then I took an intro to computer science class. And I worked a lot with partners on certain tasks that were non visual network, or excuse me that were, it was usually visual, yes. Because there was just no other like you get into the class, you don't have a lot of time to figure out how you're going to make it happen. Transcription takes a while, as you know, so unless you have this well in advance, it's going to be a scramble, and you'll likely get the book later. into the semester. And then it's also a question of who's going to pay for it. It's quite a bit of money. Does the maths commission pay for it in this case? Does the school pay for it? And I didn't want the headache to cheat off to be frank about it. So I avoided it.   Michael Hingson  25:15 Well understand how did you find partners to help with different projects like that?   Tanja Milojevic  25:21 A lot of the time, that professor would just assign somebody in the class. But a couple of the classes I got on with a few of the students sitting near me, maybe all of us were pretty well introverted. So we didn't have a whole lot of people we talked to, and also Simmons is a school that has adult students, it's got, you've got, you know, people in the master's program taking maybe some other electives that are also available to undergrads. So that nice mix of culture really gives you more of a mature group to work with. So partnering with students wasn't too hard at all.   Michael Hingson  26:04 The operative part of that, though, is that you did the work to find a partner. And I know there are some times Yeah, well, what I'm getting at is like, there are colleges, where offices for disabled students says, oh, we'll find you those people. But then you have to work by whatever their rules are. And you learn how to do that yourself.   Tanja Milojevic  26:22 They did have that available. For example, if you needed a note taker, which in my case, I didn't. But if a student wanted a note taker, they could request that some some student say that sign up for work, study job, fill that position, that student would go to your class with you take the notes, send them to you, whatever it is that that they got to do. Sometimes there would be a reader that you could get access to same kind of deal, work study position, the student would work with you for maybe two to three hours a week, and then get paid for it. But the problem with that was you sort of had to coordinate your schedule with their schedule, if your class wasn't in a spot that in a space in their schedule that was open, they could work with you that day. So it was more of a hassle than it was worth. And I didn't need a reader at the time I scanned a lot of my stuff in and would work with a professor or ask if I wasn't clear on something. So yeah, that to   Michael Hingson  27:27 you, you did a lot of it. That is you did the work to to make it happen. In other words, you learned the skills that would help you later on once you got out of college.   Tanja Milojevic  27:36 I am grateful for that. Because when you get into the world of work, it's nothing but figuring out how you're going to make something happen and make your boss happy. So it's a good skill set to have.   Michael Hingson  27:47 So what did you do for Siemens?   Tanja Milojevic  27:50 So I went to UMass Boston, which was a program was mostly remote. We went in a couple of times for intro classes and law labs and things like that. So I initially started in the TDI program, which is future of the visually impaired. Then I switched to VR T vision rehab therapy, which is the differences that TBI works with students up to age 22. And sometimes they can work with adult learners to if they're working for permission or a blindness center. If you're a VRT, you're working mostly with adult students, teaching them daily, basically, daily living skills, where else skills a little bit, recreational, etc. So I switched to that program midway through. And so I was at UMass Boston for five years, and then got my Master's there. And that was, like I said, mostly remote. There are a couple of things that I liked about that. And a couple of drawbacks, for example, you didn't really get that same class feel when it was all remote as I'm sure everyone can attest with COVID than being on Zoom and does zoom PowerPoint by zoom right? PowerPoint deck, but by the boys. Yeah, I had a lot of experience in person asking the professor questions right there. And then with remote, you really couldn't do that as much. And I ran into some more accessibility standards, like test taking, getting the software not to timeout on me or jump my focus around the page. So I worked around those and we made everything work. But the main the main thing was now with labs coming in, getting a partner to work with was a little bit tougher at that point. Because that relationship that you build when you're in person in school wasn't a thing. You're posting online, you're replying to people's comments, and posts, but it's not really the same thing. It's, you're just kind of doing a lot of work on your own. So you feel isolated. And then when you're there in person in a lab, you're like well now I have to work with these people. Get enough information from them. And there will be no you. So it's a lot more communication that has to happen. And the only thing that I'll say that I wish was a little bit longer is some of these labs, we had a little bit more time to do them. Other than that, you know, did run into some accessibility issues, their disability center was a lot more slower and had a lot more red tape around it, their processes were a little unclear and ever changing. So I did have a struggle with that in a few cases. But hey, long story short, I graduated, so I'm happy   Michael Hingson  30:36 when you were growing up before you got into college, and so on, did you have a career goal in mind? What did you want to do when you grew up?   Tanja Milojevic  30:46 Ha, that's a that's a great question. I think a lot of the time, I wasn't really sure I was kind of bouncing from various things. I've always enjoyed acting ever since I was a kid, you know, I really admired good actors or who I considered good actors, performances. And like the genuine attea that they brought, maybe not all films are meant to be genuine. Like, you can think of anime or cartoon they're over the top. But when something is very believable that you get in touch with a character, you feel like they're real. That's the kind of thing I wanted to emulate, and also just living vicariously through them. So when I discovered that voice, acting was a thing. In high school, I was like, Oh, this is exactly what I want to do. I'd always been interested in it since I was kid like, enjoyed making home movies recording, I used to have a tape recorder when I was a kid, bring it around everywhere and annoy the crap out of everybody in my family. Ask them questions, record little stories, it was just creative, fun. But I always thought if I could have this creative vision or creativity be part of my job, I'd be very happy, never enjoyed the idea or prospect of being a drone. Not that everyone working in an office is a drone. But I just found the idea of sitting behind a desk doing the same thing over and over and over again. Absolutely. You know, no freedom to make any decision about anything was was completely suffocating to me the idea of that, I always wanted something where I could move around, work with different people enjoy it, really challenge myself and work in a team to make something awesome. Like art. That's not really a career, per se, it's a hobby that turned into a side gig, that now with working with resemble AI, it's a embedded more so into my day to day job, where I'm recording different voices for them, and so on. It started as like one of those, this would be cool if I could do this. And then this is fun. I'm going to do this as much as I can and kind of more and more experienced networking. And then otherwise. Oh, sorry, go ahead. No, go ahead. I was just gonna say otherwise, I really wanted to give back to the community because I had always been a consumer of audio description and Braille services and these, like the mask mission and my various Braille teachers and mobility instructors, who made lessons a lot of fun in high school, they didn't just make it boring. Gold went across the same street every single week, there was like, No, we're gonna go to the store. And we're gonna learn how to solicit persistence and whatever we're going to forget about these cardinal directions for which I got sick of. But the point is, I enjoyed so much, I couldn't be the person I am today without the services that I've taken advantage of my whole life. So just the idea of giving back, and helping other people making their day a little bit brighter, and helping them understand that we're all gonna have bad days, that's never gonna go away. The grief, if you've lost your sight is never gonna go away. Grief never does. But you know that it's going to be better. If you're feeling bad one day, you know, it can't be like that forever. Something will surprise you. And if you put it out there enough, things are gonna are gonna improve universe always seems to put out with what you expect eventually. Not in the way you expect. But it will happen some somewhere somehow. And those two things I feel like now I'm finally at the point where I've gotten both of them to be a reality.   Michael Hingson  34:33 So the big question of the podcast is, you made all those recordings when you were growing up? Did you keep them?   Tanja Milojevic  34:42 Some of them? I have some of the tapes. It's some of them are so terrible and overdramatic, but it's amusing. It's like just you can tell I was just having fun. And then the recordings through the years as I got better with voice acting kind of took part in different shows. I did save all of those just because you you would be surprised. Maybe not. Maybe you wouldn't be surprised. But a lot of producers will lose things. They'll put something on the backburner, like a project. And then three years later, oh my god, I'm trying to work on this project. I have a lot more time now life got a little less busy. I don't have the recordings anymore. My computer harddrive died. Do you have have not? You know, that happens a lot. And then data, it's easy to just keep a bunch of it. A bunch of data.   Michael Hingson  35:30 As I recall, if I remember the story, right? The movie Lawrence of Arabia, starring Peter O'Toole Academy Award winner, but somewhere along the line, the master was lost. And somehow it was recovered. But even an Academy Award film, things things happen.   Tanja Milojevic  35:53 Exactly. They do. So that's why I'm backup hard drives. I've like two or three of them. back everything up. I usually drama, so I collect those.   Michael Hingson  36:03 Yeah. What's your favorite?   Tanja Milojevic  36:07 Oh, that's top like, I don't know, I don't even know.   Michael Hingson  36:10 Tell me some of the audio dramas you like?   Tanja Milojevic  36:14 So is there a genre you're thinking? Do you are you thinking modern or not? So that's a really hard question to answer. I decided to go based on categories. But there is a version of lock and key that was done on location and main locking key. Of course, anyone listening will? Well, if you're a Netflix person, you'll know that it's an original series on Netflix. But there are books that were written by I believe it's Stephen King's son, and Stephen King. And I'm a huge Stephen King fan. So they wrote this, I think it's a series might be three partners, quote, honestly don't quote me on that. But there are books, it was written as a radio drama and adapted by someone called Fred Fred Greenhalgh from Maine and they recorded on location that a couple of days they did this, it's a six part audio drama, it's available on Audible. It is so good.   Michael Hingson  37:09 The audible copy. And it is, I didn't even know what it was going to be like, when I got it. But it is it is so well done.   Tanja Milojevic  37:21 It's way better than the Netflix series.   Michael Hingson  37:25 I collect old radio shows, I collect old radio shows as a hobby, and I've been doing that for a long time. And you you see all sorts anything from good to bad. But that is a lot of that has spoiled me for some of the acting that I've seen in more modern dramas, because the same level of emotion, isn't there people, a lot of people today don't know really, how to act and produce an audio drama that conveys I think what the author originally intended in the book or the way it was done with a radio. We just sometimes we don't see the same quality, but I remember locking key and it does.   Tanja Milojevic  38:09 That is true, that it's not always the same quality. I think that we're trying, we're really have a couple of different avenues where we're trying to fix that, like there is something called the audio verse awards. They happen every year. There are different, obviously, iterations of this out there. But the audio verse awards really strives not to make it a popularity contest. Yeah, the crowd voting system, people go in, they listened to various things, you got awards for sound design, and acting and writing and music production. Everybody gets recognized, which is important. You can't just recognize the writer or the actor, because that's, that's just a tiny piece of the pie. So it's a good place, I'll say if you don't know where to start, when it comes to listening to good audio drama, or at least vetted audio drama. It gives you a lot of choices. And you can find these things and then you've got people ranking, the quality of things on blog posts and all kinds of places they're   Michael Hingson  39:15 well Gunsmoke, the Gunsmoke, the Western, they call it sometimes the first adult Western in radio that was on from well, all of the 1950s constantly won awards for sound patterns, sound effects, and if you listen to it and compare it even to other old radio programs, there is so much more sound put into it. It's they did an incredible job of really setting the scene and creating the atmosphere with with the sound patterns with the sound effects. So it wasn't just the acting, which was so good.   Tanja Milojevic  39:55 I know. I mean, they got some talented foley artists there. Yeah, and yeah, and I mean, another one with sound obviously that if we're thinking of classic, maybe not as classic as Gunsmoke. But the Star Wars, NPR. I was   Michael Hingson  40:13 thinking of of that. Yeah. The Star Wars program is pretty well done in the acting is good. Hamill did a did a great job.   Tanja Milojevic  40:23 That isn't absolute. I mean, there are other Star Wars, radio dramas in that world that I can think of, but none of them compare to that. NPR version. There's   Michael Hingson  40:36 there's another program that NPR did. That was on for three years called Alien Worlds, which was well done.   Tanja Milojevic  40:42 Oh, you think I heard that one? Yeah. Well, if you I mean, the BBC does some great stuff to do. Oh, they   40:49 do a lot of good stuff.   Tanja Milojevic  40:49 Yeah. Yes. I think my biggest frustration is that there isn't one central directory where you can find all of this stuff and keep up to date with it. You have to go on this website, and this website and Miss directory. And there's no central data, like your collection system, where it's like, oh, I want to learn about the history of audio drama, and I want to know what's available now. And in the past, like archive.org, Doc, excuse me, archive.org is extremely helpful, because you can just search keywords and find a bunch of stuff that was curated, downloaded, cleaned, like nightfall. Amazing, amazing series from 1979 to like, 1981 or 1982. I think they only had 104 episodes, but they're really Canadian horror series. Now, really, really good stuff anthology. So a lot of it was ahead of its time.   Michael Hingson  41:53 Yeah, as we've seen so many times, well, Gene Roddenberry was way ahead of his time as well. Needless to say, yeah, so you've done a fair amount of voice acting, I gather. A bit have we have we heard   Tanja Milojevic  42:10 you might have. I mean, like, for example, some of the longer run stuff going on, it's edict zero. Some, some may be familiar with that. It's a science fiction cyberpunk series. So I'm just like Fraser meets X Files, it's really good. mind bending stuff. You know, our world is a simulation, kind of a lot of fun. That's been running, I don't know now nine years, what maybe more, it's crazy. There's what's the frequency, which is kind of a cool, fantasy, horror, contemporary show. That is one season, I think we're gonna be working on season two. So far, there is I do want to mention the 11th hour project is a great place. If you're new to audio drama, you want to dip your feet in, maybe you want to try your hand at producing or writing or something, you've never done it before. It's an extremely inclusive space. It's 11th hour audio.com. And if you visit that, you'll notice there are obviously shows that have been created. But what it is, is it's a challenge in the month of October to create audio dramas from start to finish and collaborate with people you've never collaborated with before. In this project, this team effort, and it's a race to the deadline. It comes out on world audio drama day, which is the 31st of October, in recognition of world the world's originally 1938. And it's a lot of fun. I've been involved a couple of years there. It's a wonderful community. They're extremely welcoming. The moderators are great. And they're always available to answer any questions, so I totally recommend checking it out. And then other stuff that's horizon, the white vault, there's a group out there called fool and scholar productions. And while we're on the topic of sound design, Travis van Graf, who is the one of the integral members or founders of that group, won several awards through the audio verse awards. Specifically I can think of for sound design on vast horizon and the white vault and some of his other shows, like Tales from the tower. So these are all vast horizon is a horror slash sci fi show that's about this agronomist who wakes up on a spaceship, the rest of the crew is just gone. They're not dead. There's no bodies, no signs of struggle or anything like that. They're gone. But the ship is breaking apart. So she's got to figure out a way to get to some sort of station and the only entity she can interact with is the artificial intelligence on the ship. So I play the artificial intelligence which for me was a huge like dream come true, I guess, if you will, because I've always been fascinated with it. Artificial assistants and all that. And using the screen reader. I mean, I know a lot of my friends who are visually impaired love to imitate screen readers just because it's funny. So and so I finally got to do it and get like, a dig out of it. That was awesome. And then again, vast horizon vast horizons, okay? Yes, it's it's singular, vast horizon horizon, singular, cracked, you got it. And then the white vault is a survival horror show. First Person accounts basically compiled, but not what you would imagine from seeing a lot of these similar kind of tropes, if you will, this is a truly international task. And it takes place all over the world. And they get actually authentic actors from various countries. It's not like, oh, and I want you to do a British RP accent and whatever, it's, it's actually people from there. And there are languages also being represented other languages like Mandarin, and you know, Icelandic and so on. And they, they do it in such a tasteful way where the language starts, then it fades down, and you have the voice actor speaking in English. They got translators, I mean, they really put a lot of thought into this. I highly recommend it. And you can binge all five seasons now. Vast horizon, you can also binge all the seasons. So if you need some listening materially fun road trip stuff. Those are a couple of the project. I mean, there's others, but you know, there's Take, take me, take me a while to go through those.   Michael Hingson  46:37 And with all the languages, I assume nobody though, has done clean Chinese yet?   Tanja Milojevic  46:42 Not yet. But they just Serbian.   Michael Hingson  46:45 Oh, yeah, that's that's not yet but that's okay.   Tanja Milojevic  46:49 Well, willing, that was actually fascinating. Yeah. Yeah. It's just really some insight on that. Yeah. If you're interested in, in learning about how the clang on food scene is, is done. In the next generation, I think there was a recent episode where they had this whole banquet such was like this Yeah. entity to look like an octopus, basically, creepy, alien looking. There's an episode of gastropod, where they go into, it's called gastropod, the podcast, and they talk about food in the context of science fiction and fantasy, and how writers work is, has been brought to life, either in books or in movies. And they talk about Star Trek, they actually have the lady who designed the set and the food, like that is literally her job. She designed this food to look perfect on camera. And also so that the actors aren't like, chewing too much, or whatever. They're, it's fascinating. And that's just a talk on cast. It's not audio drama.   Michael Hingson  47:53 So what's been the biggest challenge for you in your career so far on the job and all that?   Tanja Milojevic  48:00 The biggest challenge, I'd say is the ever changing technology, software, tech stacks, soft phones, CRMs, you name it, like, you know, you learn one thing, or maybe a company starts using a new tool just because it works for them. And it's a good presents good workflow. But not all the tools are usable with screen reading technology, like Jaws like NVDA voiceover. And there's this constant need to adapt and learn how to come up with workarounds. And explain to your boss, I understand why you want to use this. But I'm unable to access it because of these inaccessible barriers that I'm running across. How can we work together to make it work. And sometimes it's, well, let's collaborate on Google Sheets. And then I'll post the results up here on this tool that we're using, for instance, resemble uses something called notion. It's a fairly early tool and its development. It's mainly designed for writing and it's think of Trello. It's like cards that you move around. And those denote tasks completed or in process, you're able to put in notes, it is not accessible at all. So a lot of these workarounds is just, you gotta have a lot of communication, make sure that people are on the same page. And so we also use Slack. And then my solution is Google Suite. Because it bridges that gap a little bit. We can always post a Google link in one of those notion cards, and people can access the same info. How do you like say that? It's the best solution that I've run across so far in terms of keeping track of threads and channels, but there's definitely some things that are a little cumbersome with it. For example, sharing files when you're on the desktop version, if you're trying to download files files that folks have sent you. Getting into that, to see the file, sometimes when you tab, basically or so. So imagine that you're on the name of your colleague, and they've shared two files with you, you're going to hit tab to get into the list of files. Sometimes all it does is say bold italics. So then you have to shift tab into the field, pressure up arrow, once, it'll start reading a bunch of stuff, you ignore that you tab once you get to the files, each time you open the modal dialog to download each file. And then you hit the Close button. Once it's downloaded, you're brought right back into the message field, and your focus is no longer on the file list. So then you have to go back up repeat, tab, pass the first file you've downloaded, rinse and repeat the entire process, and it just slows you down. So I find them some way slack is very clunky. But it is the fastest solution when compared to others.   Michael Hingson  50:56 It's really good at being able to have a lot of channels and so on my biggest challenge with Slack is that if you have to monitor a variety of channels, it's not at all trivial. To go from channel to channel quickly. You just spent a lot of time looking through channels to find nuggets or information. And that's an awkward thing. It's it is not it is it is more linear from a voice standpoint, then is is really helpful.   Tanja Milojevic  51:28 Yeah, I mean, even reacting like and find it much easier to react to posts on the phone than on the desktop app. Yeah. And switch between workspaces on the phone. My other thing to bring up is notifications. I feel like Slack doesn't always notify you, right? Even if you're mentioned, sometimes it's easy to miss. So like you said, you have to sit there and hunt through all the channels, make sure that someone isn't trying to get your attention. Sometimes they just want to be like, right? I just want to be like, Can you email or text me or call me? I will get all of those things. Yes, don't bury somewhere, but it's so frustrating sometimes. But it's better than discord in terms of monitoring channels, I've noticed discords accessible, but it's not very usable in a lot of ways.   Michael Hingson  52:17 So you use a guide dog, I understand I do what caused you to decide to use a guide dog as opposed to just using a cane.   Tanja Milojevic  52:26 I've always loved animals. So as a kid, we lived on a farm and we had chickens, turkeys, we had a pig, and so on. So a lot of my job was to collect the eggs and you know, take care of them, whatever, feed them. So I grew up with animals. And then you know, birds as pets and so on. I really wanted to have my own, like dog. And my mom was just like, well, I don't know, I mean, it's a lot of work a lot of responsibility. I don't want the dog in the house. She wasn't a fan of the hair, the shedding and the responsibilities and the costs. So when I found out in high school that I could get a guide dog, you know, I could apply get one. And then I talked to some other folks who already had dogs, like my friend, teachers had dogs, I got to see them every day. And I got to see them working. And they were just so good and very caring. And there's nothing like a special bond between a guide dog and their handler, where the dog trusts you implicitly. And they love you unconditionally. So it's just such a such a it was such an attractive like, Oh, I'm gonna have my own best friend with me in college. And also the fact that you could travel around a lot easier the dog, follow people in front of you get you through a store a lot quicker find doors, elevators, stairs, street crossings. As long as you knew the route, you were good to go. So I loved that whole thing. And I decided to apply because I wanted to have a furry friend I could bring with me to college. College is intimidating when you're in high school because you're like, Well how am I gonna make friends? I'd always had trouble sort of connecting with peers my age. I always found it easier to make friends with folks were older than me. Then people my age were kids, you know kids are are fine too. But it was just that whole awkward of like, if you're the only person with a visual impairment in your school people are just like, yeah, yeah, I'm gonna go do my own thing. So when I got a dog, you know, started college. It was a game changer in terms of helping me not be so so sad and like down just like being far away from my family. And being in this they gave me in freshman year they gave me this room that was like for one person and it was like a cell I kid you not. It was tiny. It was a corner of the building. I'd had a tiny closet and just enough room for you to spin around with your arms out That's about it. So I was very sad. I was just like, Wow, I feel like I'm in a prison cell. And I can't, like, see family or anybody, I feel so isolated here. So having the dog was huge for my mental health and not getting depressed, too bad, you know? So I got the dog for a number of reasons. I mean, socialization, huge. People would talk to me want to pet the dog, like they cared about the dog, not me. But it didn't matter. It's still, I still did wanted to do and I could get them to help me. In certain situations, like in the cafeteria, if I needed help, or whatever, finding a certain classroom, I could get peers to help because, like, if you help me find this classroom, you can pat him. Okay. So it worked out really well. Yeah, I just loved having the companionship,   Michael Hingson  55:53 I got my first guide dog going into high school, and that was even learned to use a cane but I was very knowledgeable about travel of dog has made a lot of a difference in what I do. And a dog's Well, a dog dogs in general have taught me a lot about teamwork, I love to say that I've learned more about trust and teamwork, from working with a guide dogs that I've learned from all the business and management experts in the world, because dogs do love unconditionally, but they don't trust unconditionally. And what you said was true, they trust implicitly, but only if you earn their trust. And they likewise have to earn your trust. And you have to learn to trust them, it's a two way street. But when both members of the team trust each other, it's a sight to behold. And it makes all the difference. And, and there's something to be said for the fact that it's good to have somebody to keep company with, you know,   Tanja Milojevic  56:55 Oh, definitely. I mean, both of my dogs, I feel so fortunate I've had wonderful was my first dog. The hardest thing though, for me is like I get so attached to them. And I, if they're if they're like sick, or they're getting older, I just worry about it and worry about it. And if there's something that I wish, it's that their lives were longer, yeah, and also, I've just had dogs with health issues. My first dog had inflammatory bowel disease, cancer and kidney disease at the end. And it was traumatizing, like we had to unfortunately, you know, put them to sleep and stuff. And after that, it just affected, it still affects me, like I mentioned earlier, grief doesn't go away at all, it's just how you deal with it. And you have to understand they you need to accept it, it's part of your life. And you're always going to remember them. And you got to you got to give them the respect of remembering them fondly and appreciating them for what they gave you. Right there. They gave their soul their spirit for you, you know,   Michael Hingson  57:58 you could dwell on the disease, or you can draw up dwell on the bad things, or you can dwell on the positive things and all the things that we learned together, and one of the things that I've learned through now, eight guide dogs is Wow, when when I got my first one in 1964, so it's been a while. But you know, when when they grow old, or they become ill, and you have to get our dog, it doesn't mean that you think any less of the dog who can't be your partner anymore, but you form a new teaming relationship. And your relationship may change if you keep the old the other dog which we generally have done. But still, the relationship is there. And what you really get to do is to get two dogs used to each other so that they interact and that's a lot of fun. Yeah, and I've had I've had two dogs ganging up on me. So which dog do you think I am? I want to go to work today. Oh, they're so easy. They're sneaky. Oh, that is so sweet. LaTonya this has been a lot of fun. Absolutely. I really appreciate all your time and insights. If people want to learn more about you and voice acting and so on, how would they do that?   Tanja Milojevic  59:18 You can check out my website that has samples of my work at WWW dot Tanja T A N J A. M as in Mary voice.com. That's TanjaMvoice.com. You can email me at Tanja t a

Uncoded Radio Present Switch CodeMix by Karmina Milojevic Exclusive Mix. Website : https://www.uncoded-radio.comUncoded Radio 24/7 Non-stop Amazing Underground Music© 2023 Uncoded RadioPowered by Switch EntertainmentHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Uncoded Radio Present Uncoded Session Special New Year 2023Mix by Karmina Milojevic Exclusive Mix. Website : https://www.uncoded-radio.comUncoded Radio 24/7 Non-stop Amazing Underground Music© 2023 Uncoded RadioHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

H νέα εποχή με Βλάταν Μιλόγεβιτς στον ΑΠΟΕΛ έρχεται για ακόμα μια φορά εν μέσω αγωνιστικής δράσης και τα περιθώρια για πίστωση είναι περιορισμένα. Γιώργος και Πάνος μιλάνε για το πρώτο δείγμα της μετά Σοφρόνη εποχής, τις προσδοκίες του κόσμου που δεν αλλάζουν και τα κομβικά (για την ώρα) παιχνίδια που ακολουθούν.

Guest: Dejan Milojevic, Golden State Assistant Coach    Golden State assistant coach Dejan Milojević joins the Basketball Podcast to share insights on decision-making, rebounding, Jokić, and collaborative coaching.   After his 2009 retirement from a very successful professional career, Dejan Milojević became a head coach for Mega Basket of the Adriatic Basketball Association (ABA). There, he coached future NBA All-Star and NBA MVP Nikola Jokić. Milojevic had a major impact on Jokic's basketball upbringing and is one of Jokic's role models. Some of the reads and passes Jokic makes today were originally taught to him by Milojevic, a Serbian legend himself and three-time Adriatic League MVP who helped Yugoslavia win gold at EuroBasket 2001   In 2021, he won Montenegrin League and Montenegrin Cup titles with Budućnost.   In addition to club coaching, Milojević had a coaching stint with the Serbian national team from December 2019 until September 2021, assisting head coach Igor Kokoškov.   Golden State Dejan Milojević was tasked with working with squad members playing closer to the basket that the team deploys in stretch four, power forward, forward-center, and center positions. For Milojević, that meant primarily focusing on Golden State's recently-drafted young center James Wiseman as well as their established squad players Draymond Green and Kevon Looney. Milojević won the NBA championship in 2022 making him the second Serbian assistant coach (after Igor Kokoškov) to win an NBA ring.   Breakdown 1:00 - Jokić Quote 4:00 - Jokić Development 6:00 - De Facto Point Guard 8:00 - Connecting Skills and Decision 13:53 - 14:32 - JUST PLAY ADS 14:00 - Developing Passing 18:00 - Golden State System 21:00 - Game Situations 23:00 - Competition Within Practice 25:00 - Adjusting Small Details 28:00 - Small-Sided Game 33:00 - Beyond Passing 35:27 - 36:10 - DR. DISH ADS 37:00 - Coaching Philosophy 39:00 - Coaching Rebounding 42:00 - Decision-Making 45:00 - European Coaching 48:00 - Conclusion   Dejan Milojevic's Bio: Bio: https://en.wikipedia.org/wiki/Dejan_Milojevi%C4%87 (https://en.wikipedia.org/wiki/Dejan_Milojevi%C4%87)   Basketball Immersion Website:http://basketballimmersion.com/ ( http://basketballimmersion.com/) Twitter:https://twitter.com/bballimmersion?lang=en ( https://twitter.com/bballimmersion?lang=en) YouTube:https://www.youtube.com/user/basketballimmersion ( https://www.youtube.com/user/basketballimmersion) Facebook:https://facebook.com/basketballimmersion ( https://facebook.com/basketballimmersion) Immersion Videos: Check out all our all-access practice and specialty clinics: https://www.immersionvideos.com/ (https://www.immersionvideos.com)

A look at the first few matches since Milos Milojevic took over. Europa League disappointment in the first matchday to Monaco and an uneventful end to Red Star's Summer Transfer Window. #Serbia #Belgrade #Beograd #RedStarBelgrade #FKCZ #CrvenaZvezda #FKCrvenaZvezda #EuropaLeague #UEL #Soccer #SoccerPodcast #Sports #Sport #SportsPodcast #SportPodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/blagoblabberpodcast/message

Max Wiman, Fredrik Hedenskog och Kent Leijon Jönsson sammanstrålar digitalt för att diskutera Malmö FF:s senaste insatser och inte minst den ständiga motsättningen mellan bygga på sikt och att vinna här och nu. Märks det nån skillnad på MFF före och efter Milojevic? Hur akut är tränarsituationen? Ska MFF leta en ny tränare nu till varje pris, eller låta Andreas Georgson köra vidare tills han själv har hittat helt rätt person? Vilka spelare är på väg bort? Avslutningsvis delar Max Wiman och Kent Leijon Jönsson med sig av minnen av och anekdoter kring Ingemar Erlandsson, MFF-trotjänaren som gick bort i förra veckan.

I veckans avsnitt av Allsvenska podden går Daniel ”Disco” Kristoffersson och Makoto Asahara igenom flera av de stora händelserna i allsvenskan senaste veckan. Sparkningen av Milojevic och Åhnstrand, ett stort sillysvep, nya turerna kring Jeazhe, den galna matchen mellan Elfsborg och Häcken och så blickar duon fram emot veckans kvalmatcher till Europa. Plus mycket annat!

Studio Allsvenskan finns även på Patreon där du får alla avsnitt reklamfritt. Dessutom får du tillgång till våra exklusiva poddserien där vi släpper avsnitt tisdag till fredag varje vecka. Teckna upp dig här!EXTRA PODD!MILOS MILOJEVIC FÅR SPARKEN FRÅN MALMÖ FF.Vi kastar in ett extrainsatt avsnitt dör Hugo och Birro kliver in in och resonerar runt vad som inte fungerat och varför han får gå.Är allt Milos fel? Vems ansvar är det?Vi resonerar om vem ska ta över nu? Rydström? Någon från Europa? Norling?Vad händer nu med Milos och Malmös resten av säsongen.Missa inte vår extrapodd.Foto: TT See acast.com/privacy for privacy and opt-out information.

Studio Allsvenskan finns även på Patreon, där du får exklusiva avsnitt varje tisdag till fredag. Dessutom får du tillgång till ALLA våra avsnitt reklamfritt direkt efter inspelning. Signa upp dig här!Det är fredag och alldeles strax helg. Så vad passar då bättre än ett jävla kanonavsnitt av Studio Allsvenskan? Vi kör återigen ett ringrace.Vi slår en signal till Småland och Kalmar FF:s tränare Henrik Rydström för att prata om den lite smått griniga presskonferensen mellan Rydström och Sirius tränare Daniel Bäckström. Dessutom berättar Henrik hur Kalmar ska göra fler mål, eftersom de har haft problem med det. Därefter ringer vi upp IFK Norrköpings kanske mest lysande stjärna den här säsongen, Jonathan Levi. Han sitter i bilen på väg mot Jönköping. Är han på väg till J-Södra? Jonathan ger sin syn på den senaste veckans turbulens där Rikard Norling fick sparken. Avslutningsvis ringer vi Malmö FF:s tränare Milos Milojevic, som fått utstå en del kritik den senaste tiden. Är kritiken berättigad? Håller Milos med om den? Dessutom berättar han hur nyförvärven ska användas – OCH Milos bemöter uppgifterna om att MFF jagar Jeremejeff, Selmani och Berisha.Ett bättre fredagsavsnitt än detta får ni inte. Trevlig helg! See acast.com/privacy for privacy and opt-out information.

Anders synar Giffarnas nya målsättning och gör ett krissvep i Allsvenskan. Johan berättar historien om Helge Asplund – svensk fotbolls mest säregne dribbler. Dessutom: Pappa Öqvists bilvinkning, tre gringos i Helsingborg, Lagerbäcks garviga föreläsningsöppning, Stahres bananutbrott, förlängningsrädsla, Martin Olssons 34-årsdag, Milojevic under press, falling down på Öresundståget och Jocke Olssons fullt rimliga utskällning av Västra Frölundas dagisgäng.

Anders synar Giffarnas nya målsättning och gör ett krissvep i Allsvenskan. Johan berättar historien om Helge Asplund – svensk fotbolls mest säregne dribbler. Dessutom: Pappa Öqvists bilvinkning, tre gringos i Helsingborg, Lagerbäcks garviga föreläsningsöppning, Stahres bananutbrott, förlängningsrädsla, Martin Olssons 34-årsdag, Milojevic under press, falling down på Öresundståget och Jocke Olssons fullt rimliga utskällning av Västra Frölundas dagisgäng.

Nytt plus-avsnitt! Per Bohman och Johan Flinck diskuterar taktik, spelare och spelsystem tillsammans med Milos Milojevic och ställer MFFs tränare mot väggen. Du hittar avsnittet i Sportbladets/Aftonbladets app.

So we all know batteries burn... but do we know what exactly does burn? What is inside this tiny metal cylinder that scares so many of us? We try to understand it a bit more with Dr Francesco Restuccia of Kings College London, who is an expert in battery fire safety and self-heating. And this combination of skills gave him a unique view of the challenges of fire safety of batteries - especially the ones that are stored in warehouses and not fueling anything. Francesco takes me on a journey into the world of cathodes, anodes and electrol... I mean battery juice.  Knowing what is inside and why it burns is fundamental to understanding how can we protect the world from the risks arising from Li-ION batter technology. And I hope this podcast episode is a concise introduction to this!And here is a paper choice curated by Francesco, containing the important papers discussed within the episode (because we discuss real science here! :))X. He, C. Zhao, Z. Hu, F. Restuccia, F. Richter, Q. Wang, G. Rein. The effects of heat transfer on accelerating rate calorimetry of thermal runaway of Lithium-ion batteries, Process Safety and Environmental Protection, VVol 162, 2022, pp684-693. X.He, Z. Hu, F. Restuccia, H. Yuan, G. Rein. Self-heating ignition of large ensembles of Lithium-ion batteries during storage with different states of charge and cathodes, Applied Thermal Engineering, Vol 197,  2021, 117349.Z. Hu, X. He, F. Restuccia, G. Rein. Anisotropic and homogeneous model of heat transfer for self-heating ignition of large ensembles of Lithium-ion batteries during storage, Applied Thermal Engineering, Vol 197, 2021, 117301. 3P. Christensen, Z. Milojevic, M.S. Wise, M. Ahmeid, P.S. Attidekou, W. Mrozik, N.A. Dickman, F. Restuccia, S.M. Lambert, P.K. Das. Thermal and mechanical abuse of electric vehicle pouch cell modules, Applied Thermal Engineering,Vol 189 2021,116623L. Diaz Bravo, X. He, Z. Hu, F. Restuccia, M. Marinescu, J. Barreras, Y. Patel, G. Offer, G. Rein. Meta-review of fire safety of Lithium-ion batteries: industry challenges and research contributions, Journal of the ElectrochemistrySociety Vol 167 090559, 2020. X. He, F. Restuccia, Y. Zhang, Z. Hu, X. Huang, J. Fang, G. Rein. Experimental study of self-heating ignition of lithium-ion batteries during storage: effect of the number of cells, Fire Technology, Vol 56, 2020, pp 2649–2669--- Cheers to Dr Matt Bonner of Trigon Fire for the surprise song. Make sure to check out his episode on facades, as music is just one of his skills.https://www.firescienceshow.com/004-facade-fires-and-ai-with-matt-bonner/

Studio Allsvenskan finns även på Patreon – där du som är medlem får ALLA våra avsnitt direkt efter inspelning och dessutom reklamfritt. Teckna ett medlemskap här!Det är fredag och snart tar vi helg. Men först kör vi ett gammalt klassiskt ring-race! Vi slår först en signal till Malmö FF:s högerback Felix Beijmo som fått förtroendet av tränare Milojevic hittills. Vad tar han med sig från den fina insatsen mot Blåvitt, och vad har han att säga inför det stundande toppmötet mot Hammarby?Därefter ringer vi upp Bajens nyckelspelare Mohanad Jeahze, som ryktats till skotska Celtic den senaste tiden. Hur kommenterar han dessa uppgifter? Jonathan Levi låg bakom IFK Norrköpings första allsvenska seger för säsongen i tisdags – och vi ringer förstås upp honom också. För att snacka om Pekings inledning och Levis mediala strategi. Avslutningsvis slår vi även en signal till Kalmars stjärnspelare Oliver Berg för att höra vad han har att säga om matchen mot Norrköping, lagets säsongsinledning och hans egen form. Fyra toppgäster, alltså. Missa inte dagens ring-race!Trevlig helg. See acast.com/privacy for privacy and opt-out information.

Johan åker på en märklig svensexa med Oscar Linnér-rundgång i skallen. Anders hör Jörgen Lennartsson framföra tre önskningar varav ingen slog in.Dessutom: Old school-fotboll, dålig intervjustämning, Williot Swedbergs gurka, suputar som hänger i, konsten att vara närvarande, research på Milojevic, rapport från Skandinaviens ledande klubb och den konsekvensfyllda snöbollen som nästan träffade Mourinho.

Johan åker på en märklig svensexa med Oscar Linnér-rundgång i skallen. Anders hör Jörgen Lennartsson framföra tre önskningar varav ingen slog in.Dessutom: Old school-fotboll, dålig intervjustämning, Williot Swedbergs gurka, suputar som hänger i, konsten att vara närvarande, research på Milojevic, rapport från Skandinaviens ledande klubb och den konsekvensfyllda snöbollen som nästan träffade Mourinho.

A Herman Academy grad, Mississippi Valley State alumni, and current Saint Michael's College NCAA D2 basketball player Dario Milojevic joins Drake on the podcast (07:48) to chat about growing up in Windsor, putting himself out there to get recruited, playing NCAA, and more. Dario has great stories about taking the tunnel bus to Detroit as a teenager to play travel in Detroit, getting grief for being Canadian, and his overall love for the game.Support the show (https://www.paypal.com/donate?hosted_button_id=XNSCRPRDDLR44)

Vilken blir skillnaden mellan Malmö FF under Milojevic jämfört med Tomasson? Hur introducerar en tränare taktik för tioåringar? Hur ska ÖFK hitta tillbaka till eliten? Går det att lära ut principer utan att hela tiden spela med högt tempo? Fotbollstränaren John Wall svarar på lyssnarnas frågor. Frågor som kommer från både Norge och Sverige. John Wall jobbar numera med den världsomspännande plattformen gameinsight.sport – en plattform där tränare och spelare får tillgång till ett obegränsat moln för att dela träningar, analyser med mera. Programledare: Hasse Carstensen

Vilken blir skillnaden mellan Malmö FF under Milojevic jämfört med Tomasson? Hur introducerar en tränare taktik för tioåringar? Hur ska ÖFK hitta tillbaka till eliten? Går det att lära ut principer utan att hela tiden spela med högt tempo? Fotbollstränaren John Wall svarar på lyssnarnas frågor. Frågor som kommer från både Norge och Sverige. John Wall jobbar numera med den världsomspännande plattformen gameinsight.sport – en plattform där tränare och spelare får tillgång till ett obegränsat moln för att dela träningar, analyser med mera. Programledare: Hasse Carstensen

How many of you enjoy old time radio or modern radio dramas? Join us on Tek Talk to here all about the new Story More service for the blind. You can think of it like the audio version of Netflix. Come learn more as Tanja Milojevic tells us all about it during the show today. Presenter contact info: Email: tMilojevic@storymore.com Links to great information: LightningBolt Theater of the mind: www.lightningbolt.podbean.com My VO website: www.tanjamvoice.com The Transposition of Chloë Brontë: http://www.chloebronte.com/ Story More: www.storymore.com Resemble AI: www.resemble.ai

How many of you enjoy old time radio or modern radio dramas? Join us on Tek Talk to here all about the new Story More service for the blind. You can think of it like the audio version of Netflix. Come learn more as Tanja Milojevic tells us all about it during the show today. Presenter contact info: Email: tMilojevic@storymore.com Links to great information: LightningBolt Theater of the mind: www.lightningbolt.podbean.com My VO website: www.tanjamvoice.com The Transposition of Chloë Brontë: http://www.chloebronte.com/ Story More: www.storymore.com Resemble AI: www.resemble.ai

Fredrik Lindstrand och Fredrik Hedenskog får sällskap av Milos Milojevic i MFF-podden. I ett tvåspråkigt samtal som varar i nästan en och en halv timme lägger den serbiske tränaren ut texten om en lång rad ämnen. • Starten, mottagandet och kravbilden i MFF • Fotbollsresan från Serbien via Island till Sverige • Lärdomarna från Röda Stjärnan • Turerna kring Hammarby och Rosenborg • Hur man skapar dynamik och hunger i en klubb som vinner för det mesta • Tränarskapet och fotbollsfilosofin • Spelartruppen, spelsystemet och förstärkningar – både inifrån och utifrån.

Alexander Axén och Erik Edman tar ett grepp om årets stora tränarrekryteringar i Allsvenskan, med Marti Cifuentes till Hammarby och Milos Milojevic till Malmö FF. Men även andra ämnen behandlas.  Borde huvudtränarna få ta med sin egen stab? Vilken tränare får sparken först? Är unga tränare egoistiska karriärister?  Programledare: Simon Pålsson  I februari är livesändningarna från Fans Corner Sverige tillbaka. Läs mer om projektet på FCSverige.se

Fredag och Studio Allsvenskan ringer runt!Idag ringer vi Djurgårdens sportchef Bosse Andersson (som befinner sig på ett SPA i Roslagen) för att höra hur han tänker om Edvardsen till Djurgården och andra grejer.Vi snackar också med IFK Göteborgs sportchef Pontus Farnerud för att höra om vilka mål och ambitioner Blåvitt har inför 2022.Vi hinner också med att prata med Malmös nya sportchef Andreas Georgson för att höra det senaste om Anel inte minst.Mjällbys legendariske sportchef Hasse Larsson är i Spanien och tar sig tid för att prata med oss, och därmed med er, om hur Mjällby tänker runt ny mittback och ur det egentligen kändes att tappa Joel Nilsson till Hammarby.Utöver alla dessa intervjuer hugger vi oss även nya vägar in i Silly-djungeln.Och när vi tror att allt är klart så droppar Malmö en BOMB. Milos Milojevic är klar för Malmö FF. See acast.com/privacy for privacy and opt-out information.

Etter en liten evighet har RBK klart å vinne en fotballkamp igjen. Damene avskilter toppscoreren, Milos Milojevic møter opp i Trondheim for å se på været, og vi krangler om fusjon av herre- og kvinnedelene av klubben og profesjonaliseringen damene ønsker å gjennomføre. Det er kun én kamp igjen av serien, så får vi forhåpentligvis fasit på hvem som er trener for RBK til neste år - og så er det endelig juleferie og offseason! Hvis du skal delta på vårt julebord 17/12, kan du være med på å stemme frem hvilke juleøl vi skal smake på. Vi har lista klar til årets siste planlagte episode 14/12. Hvis du ønsker å komme med innspill til Troillprat i sanntid er det mulig å se oss live på YouTube når vi spiller inn tirsdager. Link til dette kommer typisk i løpet av timen før opptak starter kl. 20 på RBKweb-forumet, Twitter, Facebook og vår Discord-server. Vi oppfordrer alle til å støtte Spleis-aksjonen for Tifo-oppheng på Øvre Øst! Gi så det svir!

Markus Henriksen gjester Rasmus&Saga See acast.com/privacy for privacy and opt-out information.

Studio Allsvenskan tog sig till Årsta för en längre sittning med Hammarbys huvudtränare Milos Milojevic. Det handlar om hans första tid i Hammarby och Stockholm, om att han älskar bengaler, om hur han ser på sin egna ledarstil och hur den fungerar i gruppen. Det blir också ett längre samtal om vad han kräver av sina spelare och hur han ser han på Hammarbys lag med tre omgångar kvar, men också hur han ser på nästa säsong. Vad fattas? Vad finns i Hammarby? Hur vill han spela? Och vilka spelare behövs till truppen för att kunna spela 4-3-3 med hög press som är hans grundfilosofi? Vad krävs för att Hammarby ska ta ytterligare steg? Det blev ett intensivt och nördigt samtal om fotbolls innersta väsen. Dessutom får vi veta varför han bänkade Amoo? Hur han tänker inför transferfönstret och hur hans egen byggda scouting-app fungerar för att hitta ny stjärnor till Bajen. See acast.com/privacy for privacy and opt-out information.

With new AI technology, voice actors might be afraid of deep-fakes, or someone stealing their voice. But did you know that the same technology may be able to track where your voice is used and flag any deep-fakes? This week, we welcome Zohaib Ahmed, CEO of Resemble.ai and Tanja Milojevic, voice talent and Community Manager. In addition to offering a variety of solutions for voice cloning, character voices, and other content building with synthetic voices, Resemble AI runs an open-source project called Resemblyzer which allows detection of deep-fakes or misuse. Listen in as we discuss the ethics, accessibility, and the importance of storytelling in AI voices. Guest Bios About Zohaib Zohaib Ahmed is the CEO of Resemble and oversees tech development. His previous experience includes leading engineering teams at Magic Leap, Deepen AI, Hipmunk, and BlackBerry. At Hipmunk, he was the lead engineer of the first AI Assistant for Travel, built using modern NLP techniques. Zohaib graduated from the University of Toronto with a degree in computer science. About Tanja Tanja Milojevic is highly motivated, talented, and dedicated to audio description. Tanja is working with Resemble AI to clone her voice and as the Community Manager. Tanja has worked on: Games (the gate, Flippd, and others in development), Audible (Baby Teeth), Pseudopod, Podcastle, Podscape, Radio Dramas (Edict Zero, What's the Frequency, 11th Hour, You Are Here, A Scottish Podcast, Koach Studios, Electric Vicuna Productions, Campfire Radio Theater, All's Fair, Organism, Greater Boston, Twilight Radio Theater, Misfits Audio, Darker Projects, Brokensea Audio, 19 Nocturne Boulevard, Audioblivious Productions, Icebox Radio Theater, The Grey Area, The No Sleep Podcast. Top 10 Takeaways With Resemble, voice actors can choose from three levels of control for use of their voice: No Control, Content Filters, and Full Approval. Resemble has thorough terms of service that spells out voice usage. There are two ways to record for Resemble: record samples on the Resemble website or upload previous materials. Resemblyzer is an open-source project that allows you to derive a high-level representation of a voice. Resemblyzer allows for detections of deep-fakes and synthetic voice misuse. Resemble has emotional gradients that can be added to their AI voices. Resemble can analyze audio, edit and supplement a voice actor's work. Voice talent can use Resemble starting at $30 per month. Resemble's marketplace can “score” voice samples based on professionalism, and companies can license these voices to use per character usage. Resemble wants voice actors to have a major role in the industry. Referenced in this Episode Learn more about Resemble.ai Visit Tanja's Website Recorded on ipDTL Share This Resemble AI believes in compensating voice actors #VOBOSS AI voices improve accessibility #VOBOSS Passive income is never a bad thing #VOBOSS Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast, the AI and Voice series. I'm your host in Anne Ganguzza and it is my pleasure to introduce some very special guests that are with me today. First Zohaib Ahmed is the founder and CEO at Resemble.AI. Zohaib also previously led engineering teams at Magic Leap, Deepen AI, Hipmunk and Blackberry. We also have special guest Tanja Milojevic, award-winning voice talent and community manager of Resemble.AI. Tanja assists in onboarding and supporting voice talent through Resemble's synthetic voice creation process. She has over 10-plus years of voice acting experience, and her work ranges from character voices for audio dramas, to short story narrations, to audio descriptions for the blind and more. Zohaib and Tanja, thank you both so very much for joining me today. Tanja: Thank you, Anne. I love your podcast, so I'm very excited to be here. Anne: Oh my gosh. Thank you so much! I appreciate that. So I've been interviewing quite a few companies that produce voices in the AI space for the series. So I'd love to start off by asking if you could tell us a little bit about your company and the products that you offer and what makes you different. Zohaib: Yeah, so we started off, for example, with one core problem in mind. We looked at the computer vision community, you know, all those lucky people who have Photoshop since 1991, and they'd have all these fancy tools, Unity, and you name it, to do all these fancy movies and graphic effects and all sorts of visuals that we kind of take for granted now. And we looked at them and we said, hey, why don't audio people have any of these tools? Why, why are they still stuck with old knobs on a screen that kind of resemble literally what the physical version of that instrument would be in real life, just on a computer screen? And we kind of looked at that and looked around and closer and closer. And we found that there were a lot of use cases where extending voice actors would make life a lot easier. And it would also create a lot of interesting applications that couldn't be done before. So that's kind of where we started. And since then we kind of went in all sorts of directions, but in our very core, we were building synthetic voices. So we were like our core business is to take any sort of arbitrary speech data that's unstructured, create these high quality synthetics, and then kind of go from there. And over time we've decreased latency. So we're able to generate content within a few milliseconds, like seconds or minutes of conversations in a few seconds or milliseconds. We're able to do unique audio editing, where you have like a hybrid text-to-speech where you paste in your own voice and say, in this podcast, I'm kind of blabbing on, and if I wanted to remove bits and pieces, I can do that. Or if I wanted to change a few words, I could do that. And my synthetic voice would kick in in those parts. We found pre-production and post-production value in all, everything that we're doing. And then within all that, you know, we kind of want to still keep a performance of voice actors. So we want them to not only sound like them, but to be as emotional as they are and to kind of get the performances as they do. So, yeah, we've been around for a little bit over two years now, and we've worked with more than 150,000 users who have created voices on our platform. We try to make it as accessible as possible. That's kind of the big differentiating factor between us and everyone else is we tried, from day one, our goal was, well, this is a lot more powerful if we give it to the user and let them clone their voice, then you know, Anne can go ahead and click on her voice and figure out, oh, I'd love this on my podcast. And she'll come up with the ideas, and we kind of just facilitate her ideas. So that's been our, that's been our motivation has just been like putting it out to feel people's hands. And we have like 150,000 of them now and growing every day and all sorts of different use cases have popped up. Anne: Wow. So I want to get in a little bit more into how you create your voices on your platform. But before that, I'd like to ask Tanja a question. Tell us a little bit about your voiceover career and what was it that led you -- some of my voice talent friends would say -- to the dark side? What was it that led you to your interest in AI? Tanja: Well, seeing that I love Star Wars, I think that's a great reference, dark side. That's, that's awesome. So I generally stumbled upon voice acting when I was in high school. I've always been interested in acting ever since I was a kid. I received one Christmas a tape recorder that, you know, with some blank tapes at the time, and that was the best thing ever. 'Cause then I started recording stories and everybody's conversations and annoying the whole household in general. So, so that's where that started, and I was always interested in it. And then I had a friend, her and I would do a lot of improv kind of over the phone. Do you remember the days where after 9:00 PM, doesn't matter what phone plan you had, it would be free. Anne: Wow. I don't know if that was the case in my zone, wherever I was. I don't remember that. Tanja: Yeah, here in Massachusetts, that was, that was kind of a thing. Just, you can just call after 9:00. Anne: Oh wow! Tanja: So we would improv a lot, needless to say, and not be very alert for school. But then I stumbled upon, actually at my local library, a talking book, a couple of audio books for school, A tale of Two Cities and Pet Sematary by Stephen King. And they turned out to be audio dramas. So, you know, full sound effects, story, everything was in audio and I, I was intrigued. So then I did a bunch of research, and I found out about voice acting and a website called Voice Acting Alliance where anyone could audition. It was meant for amateurs. You didn't have to know what you were doing at the time. So I got a really terrible compressor microphone, Linin from Radio Shack, I think, and started using that and did as many auditions as I possibly could and listened to people's feedback. Everyone was so gracious and welcoming. So I was hooked. And after that, I just started getting into whatever I could with voice acting, anything from audio dramas, which the independent podcasting movement now has a lot of those, and they're growing. There are several places to find them, so many amazing stories out there that there just isn't enough time in the day to listen. So I I've been involved in that consistently for 10 years. Recently, I'd say about a couple of years ago, maybe a year ago now, I started recording audio descriptions for a couple of different companies, which is a track that's added to a media, like whether it's a TV series or a film, and it describes essential costume changes, action sequences, facial expressions, and so on and so forth meant for the blind and visually impaired to access media on an equal playing field to everyone else. So that's been a lot of fun. I've done a couple of short stories, narration, kind of narration based, playlist intros, radio spots, things like that, tied in here and there. And then I accidentally actually stumbled upon Resemble.AI because I've always been fascinated with artificial intelligence and smart assistants. Being someone with the visual impairment, I use screen readers all day, every day. My phone has a screen reader. I have, I kid you not, four Echoes in my house. So that gives you an idea of how much I love artificial intelligence and assistants. So I was looking for voice cloning and specifically searching as a voice actor, how do you become a virtual assistant? And Resemble.AI popped up with voice cloning, of course, with how Zohaib was discussing earlier, the ability and the power that it gives the user where you can then clone your voice for free. I never saw that anywhere. I've, I haven't come across any other website that allows you to just record and it's there. So I tried it and then I sent in data. I also applied on the form, and I heard back from one of the team and started the dialogue of, hey, I want to do all the voices, like everything. I don't, I don't care what it is, whatever you guys need. And it evolved into this role. So it was a very organic process that was serendipitous for me. So really excited to be here. Anne: Absolutely. That's a really wonderful story. And I saw on your website, I've listened to some of your demos, and I know that you're very passionate about the acting part of voiceover and being able to tell the story. I think you have an affirmation that you said, it's not just the voice that matters. It's how you tell the story. Tanja: Absolutely. Anne: I guess my question going into that is how does AI fit into this? Do you envision an AI voice being able to tell the story as a voice actor would? Tanja: I do. I mean, I think that we have room here to definitely include both where, for example, a client might want to use the artificial voice for a smaller character, but then they might want to, down the line, hire that voice actor, if they're readily available and also not remaining anonymous, which is an option for our voice talent as well. Then they might get additional work with that company depending on what the needs are, especially if they are someone who's, who's available and responsive, and the company likes their voice anyway. But that said, the emotional gradients that we have, that we offer at Resemble really allow the developers to add these emotions to the clips that they're generating, whether it's sad, angry, caring, happy, et cetera, scared. There is a lot of customization that's available for the developers. And we do take feedback very seriously. Anyone's feedback for improvement, we're ever evolving and improving. So with just the rapid changes in AI technology in the last decade, I'll be looking forward to seeing how much more realistic and how much more powerful neural TTS voices will become over time, since it's literally, it's just a matter of time and of data crunching. Anne: Excellent. Zohaib, can you talk to me a little bit about how voices are created on your platform? Zohaib: Yeah, so we, we wanted to make it as simple as possible. So there's, there's two ways of creating voices. The first option is anyone could go on our web platform, record 50 sentences. Typically these sentences are fairly short, five to eight words each, and after 50 sentences, we will build the voice for you in the next 15 to 20 minutes. There you go. There's your voice. And the second way is you upload some sort of unstructured data. So you can imagine a lot of talent that we work with, and a lot of customers that we directly work with, they are sitting on top of data where they've previously recorded data that convey a certain emotion or that it conveys a certain style of speech. So it allows our folks to kind of create domain specific voices. So for example, if Tanja is doing a voice for a telco on like IVR, so it's like you pick up the phone, and you call Verizon and kind of talks back to you or synthetic voice talks back to you, that kind of data set is very different than if Tanja was doing like an audio drama. Anne: Right? Zohaib: She needs to be a lot more emotional, and it's a completely different performance. So we tried to capture in exactly the kind of data or the performance that we want to reproduce to your earlier question, in terms of emotion and inflection, the model the AI is built in a way such that it tries to predict the right emotion or the right inflection, given a few words or whatever you're typing in. So that's a couple of ways of doing it. Once we ingest that data, typically the 30-second technical pitch is it consumes the audio as well as a transcription of that audio. And then it tries to learn what the transcript would output. And at the end of it, once it's learned a mapping between the words and the audio and the reason we could do it at 50 samples and not 20 hours like it used to be, or 100 hours like it used to be is because the model has already has a notion of English. So it's, you don't need to provide it with everything. It's just -- Anne: So you have a base model. Zohaib: -- we try to cover most of the phonetic -- exactly. Anne: Ah, okay. Zohaib: We do that for -- across different languages. So if you wanted Tanja to speak Spanish, and assuming Tanja doesn't speak Spanish -- Anne: Right. Zohaib: -- we can record her English and then get her voice to speak Spanish because the AI has learned some notion of Spanish already. And then during prediction time, it's just, you give it text and then you say, hey model, if this Tanja synthetic voice was generating this particular text, what would this audio look like or sound like? And it tries to make predictions. That's what most machine learning does. It's just prediction at the end of the day. Anne: Right. So then if people are creating voices on your platform, are you using those? Is that data that gets fed in for the machine to learn from, in order to create that ball or -- Zohaib: No, no. Yeah. So the, the underlying model is -- it's stagnant. Anne: Oh, okay. Zohaib: So like we freeze it in time and then we don't append data to it. And the reason we don't append data to it, that's like live data that's being adjusted is typically in any stream of machine learning, it's bad data, even a little bit of bad data hurts you significantly, so -- Anne: Oh, interesting. Zohaib: -- you don't want to pollute data at all. So you kind of want to -- you know, it's like if you, if you were building an application for measuring house prices, and then all of a sudden, you started sneaking in outliers into that dataset, the predictions would get worse overall because of these outliers. So we don't include any of user data into any of these models. Those are all like custom models that we've collected data ourselves specifically for building that task. Anne: Gotcha. Zohaib: And those are like stuck in time. Anne: So that's been done. And so there's no other mo -- I'm just curious. So there's no other models that will improve that model. Is that correct? Or there's no other information that can be added that would improve the model, or you're maybe continually trying to improve it or no, you're, you're good with this model? Zohaib: No. So we were constantly trying to improve it. There's two ways of improving the model. One is like where we lack data. So for example, if we understand that our model used to struggle with deep voices, deep male voices -- Anne: Okay. Zohaib: -- we would go ahead and be like, oh, that's because we didn't collect enough -- Anne: Enough. Zohaib: -- of this kind of data. So we'll go ahead and try to fill in those gaps and see like, okay, what else are we missing now? So we always can try to improve it with data. Anne: Gotcha. Zohaib: But then some of the bigger advancements, the bigger improvements occur due to just architecture changes. So just recently we've done things like produce audio at 44 kilohertz most, if not all, text-to-speech engines produce it at 22 or 24, but that's like architectural change in the model that produces better results. So yeah, there's only really two avenues to go. Either you feed it more data and see if you could tweak things or where you, once you get stuck there, you look at the architecture of the model, and you say, well, what are we not able to do better? Are we not able to render higher frequencies? Are we not able to predict certain emotions really well? Did we struggle with a particular accent, et cetera, then you kind of adjust the architecture from there. Anne: So, that's interesting. So it leads me to think about, let's say if I were to produce my own voice, my emotion, right, or my model emotion maybe would be completely different than maybe somebody else's or maybe the model's emotion or inclination toward that emotion. Is that correct to assume that, and it would be better if I wanted a model of my voice to upload more data? Zohaib: Yeah. So we definitely do that. So it's the fundamental model is built up of all sorts of accents and a variety of data. What we've seen is the dataset that we provide you to record typically captures -- it's like phonetically balanced. So it captures like most of the phonemes that you're -- that we speak in. So that kind of gets us really far, but we have had scenarios where we -- I, I recall one with this company out in New Zealand that, you know, recorded or sent over some data. And when we generated it to my non-oceanic ears, it sounds good. It sounds like, yes, like people in New Zealand sound like, and then we sent it over to them and, you know, there's like all sorts of like, oh, but it, New Zealand, we don't do -- Anne: Right. Zohaib: -- the, the R's like that. That's how Australians do the R's, and that accent is slightly different than the Australian. So when do you get, when you get really integrated, then yeah. We need to collect more data from that kind of source. Anne: Interesting. And is it also, let's say, for example, as a voice talent, right, I want to have my human voice, right, that I use and get paid for, but I also want to have my AI voice available, and maybe I want to do a lot of, I want to do IVR systems. I do a lot of them now anyways, figuring that that's going to be one genre that's going to utilize AI voices. If I were to give you data that I've already recorded, where I've done a lot of phone voices, would that make a better phone voice for me versus let's say something, like, I might do some acting and do some more dramatic emotional stuff? So if I wanted to create an AI voice for IVR systems, I would maybe give you more data that would be inclusive of that type of read, versus maybe I could have another AI voice that would be my, you know, my more dramatic voice that could be for video games or for whatever, and then work more on the emotional aspect of the data. Tanja: Yep. Yep, exactly. Zohaib: Absolutely. Everything is domain specific. Anne: Got it. Zohaib: So you give us data that's like IVR, it produces a better idea. Anne: Right. Yep. Got it. Now I assume that, you know, I can't create my own voice for free there or can I? That would be -- I don't imagine it's free to create my own voice, like, or an accurate representation of my voice? Zohaib: Yeah. So if it's like for a custom data set that we're ingesting, it's no longer free -- Anne: Got it. That makes sense. Zohaib: -- because there's some sort of pipeline that we put you through. Anne: Sure. Okay. Zohaib: But yeah, there are different, depending on which aspect you're coming from, whether you are a VO, you're a voice talent, or whether you are a company that just happens to have voice data, the pricing kind of varies from there. Anne: Well, I always found it interesting because I literally, I've been doing my VO BOSS podcast for four years. Literally I could give you probably the most conversational aspects of my voice if I were to just give you all that data. And that would create a very conversational Anne for an AI voice, I would hope anyway. Zohaib: Yep. Exactly. Tanja: Right. Anne: Okay. Right. Okay, so let me ask you a question. Do you sell AI voices as well? So let's say if somebody is using -- that they don't necessarily want to create their own voice. If they want to use your platform for, you know, creating audio files, can they use your voices at a, at a cost? Zohaib: Yeah. So we do have a marketplace. Anne: Okay. Zohaib: So we, we invited a lot of voice talent. And actually, if you just go and build a voice, we -- it rates, we rank your voice in some way, or we score your voice in some way, depending on what kind of microphone you use and what kind of support you've got. Anne: Okay. Zohaib: So we do invite people to add their voice to this marketplace. And then from there on, those voices are available for a selection to our customers. Anne: Got it. Zohaib: So our customers can say, oh, I really like Anne's voice. And they'll click on your name, they'll listen to a sample with your synthetic voice and be like, oh yeah, that's, that's exactly kind of what I want. And then they could propose a project to you -- Anne: Got it. Zohaib: -- and then we kind of facilitate that kind of agreement. Anne: So then my next question is, is there compensation and usage for any, let's say, company that wants to use my voice, and is it on a per job basis? Zohaib: Yeah. So the way that we look at it is, it's on a per character usage fee. Anne: Okay. Zohaib: So we do compensate voice actors on a per character level. Anne: Okay. Zohaib: So if you are building an IVR voice, is that more that that customer uses your voice? We show you exactly what that character usage is, so you can track it. And then there's some sort of compensation at the end of every month. Anne: Oh, okay. So it's a monthly thing? It's not necessarily based on per job? Tanja: Right. It's just how many characters were run through your -- Anne: Got it. Tanja: You can have multiple voice models, and maybe clients are using all of them, different clients. It would all simply be based on how much data these clients were running through these voice models collectively on a month to month basis. And the royalties would come out of the characters generated. Anne: Got it. So then if my voice were recognizable, right, and it was a great AI voice, I would be concerned as a voice talent that maybe the usage of that voice might not be in alliance with my brand, right? Or maybe they're using it for something that I would not necessarily be aligned with with my brand. Is there any sort of, you know, job control in that respect? Zohaib: Yep. So we have three levels of control that we offer at the moment. So the first is no control. We have plenty of voice talent that does -- that do like impersonations of voices, or they do like really specific character voices that aren't really tied to them in any way. And they're okay with anyone doing anything with those voices. So if you're making a game, the character in that game could be anything. It doesn't really matter to them. So that's like one level, I guess. Anne: Okay. Zohaib: I'll jump to the most extreme level, which is, we also have the ability for the talent to completely make it a manual process and make it so that there has to be a project description, and that it has to be accepted. They have to be sample lines that are discussed with that or show to the voice talent and then the project executes. And then there's like category in the middle, which is kind of like exploratory right now. But it's something that I think not only voice AI or hopefully not just us, but other people are also trying to do, which is something we call a content filter. Anne: Yeah, mm-hmm, yeah. Zohaib: So the idea is that we're able to detect with texts whether something is political -- Anne: Yeah. Zohaib: -- whether it's not safe for work, and we're automatically able to prevent that from ever being generated. So at the moment, it errs to the side of caution. So there are a lot of false positives, but that's because we want to be extra safe for that scenario -- Anne: Sure, absolutely. Zohaib: -- where, you know, if you've mention Donald Trump on there -- Anne: Sure. Zohaib: -- it'll most likely say, hey, that's political -- Anne: Right. Zohaib: -- and doesn't want you to say anything. Anne: Or if there's -- yeah. Or maybe there's swear words or, you know, words that I would never say myself -- Tanja: Right. Anne: -- wouldn't be represented -- okay. Very interesting. So tell me a little bit about, I saw something on your website about Resemble Protect. What is that, what does that do for us, Resemblizer? Is that what it -- Zohaib: Yeah, exactly. So that's an open source project that we have. It's, it's on GitHub, github.com. Anne: Is that what you were just describing to me? Was that the Resemble Protect or? Zohaib: Nope. So yeah, Resemble Protect [inaudible] it's the same thing. Anne: Got it. Zohaib: The idea behind Resemblizer was when we first started, there were a lot of components that kind of build up our voice model. So you can assume that since we're detecting emotion, we can also offer just emotion detection as a service, since we're detecting different sorts of languages and different sorts of voices, we can kind of offer -- like we do some sort of fingerprinting to identify or disentangle your voice from the text that you're reading or your accent, et cetera. So Resemblizer basically is this open source package. It ships with, or it comes with like this pre-trade model. So what that means is as a user of that open source or free package, you don't need to train anything. There's no ML working to do. You don't need to buy compute or have powerful computers. Because open source project is basically our way of looking at this problem of speaker identification and deepfake protection, and basically looking at it and saying like, this is like a problem for everyone to solve. And this is a machine learning network that's able to distinguish between fakes and reals. And we kind of put it out in the public because it's not our core product or anything. So we're like, well, let's put this out there and see what other people can do with it. So we've had people who are trading that model with a lot more data that we traded with, so like different languages, et cetera. Anne: Sure. Well, that's amazing. I think that's really wonderful. And that is an open source project that you began and put it out there? Zohaib: Exactly. Anne: That's really great, because I've always said that there's gotta be some sort of a way for us to figure out where is our voice being used. I mean, we have enough problems as it is, and I'm sure Tanja can identify that we don't know if our voice is being used, you know, in another region or, you know, another campaign that maybe we didn't agree to in the first place. I mean, that's always been -- Tanja: Right. Anne: -- you know, something that voice artists have been concerned with is usage. And there really hasn't been a way that I'm familiar with outside of some other voice talent and saying, "hey, I heard your commercial in California. I thought you said it was only for east coast." And so that's really how we found out before. So I would think with AI voices, I would hope, that there would be technology that would allow us to figure out where is this voice being used. And also, I guess my question would be, does that also take care of if let's say, 'cause you have a model, right? I can speak Spanish, even though I don't. So is there a way, is there hybrid models of, of AI voices, like two or three different people and then youcreate a whole new voice? Is that a thing to create new voices like that? And then if so, how do you know if your voice is involved in there? Zohaib: Yeah. So we've been experimenting with a technique that kind of does what you just described, which is like blending voices together. We've been using it largely for a different purpose. So we work with customers who are trying to get really particular pronunciation of words or a really particular performance, but they want to keep the original voice that they're, that they're using or the target voice. But that target voice, we just don't have enough data in that target place to get that kind of pronunciation. So typically what we've done in the past is refer using Tanja's voice and her voice has said something in particular, and you want to control exactly how she's pronouncing those words. What we typically do is augment her data with someone like your data. And then we kind of blend some of it together enough that we can disentangle the way that you're pronouncing, pronouncing the words versus how she's saying them. And we can blend different aspects of voices together that way. But yeah. Anne: Is that, is that like a separate model? Like, you know what I mean? Like is that like a new model that you've generated? Zohaib: You can think of it as a new model. Anne: Okay. Zohaib: You can think of it as new model, but our --so that's when you, when we say model, it's always kind of weird because models are models are comprised of models. Like there's a model that just does like emotion detection. There's a model that just does pitch detection. There's one that's just looking at languages and making sure it's conditioning on the right languages. There's one for like gender, et cetera, speaker. And these are all like disentangled pieces. And then you could, these are like blocks, and you could put one block with the other block and get something different, if that makes any sense, but they're fairly modular by design. Anne: Okay. Okay. Well, I do want to mention that I did check your website for any terms of service and ethics policies, which I just want to make sure that my BOSS listeners know that yes, I found a wonderful page on that. And I really liked that you had a statement that said once your voiced is created, that we own all the rights to that voice, and that you don't use that voice data to train other models, which is something I've not seen on some other websites that generate AI voices. So I appreciate that, nor do we resell the voice data to third-party companies. So yeah, I appreciate that you have that page. And I just want to kind of put that out there. So BOSSes know I like to work with companies that are concerned with ethics in this. It's kind of a crazy time for us as a lot of voice talent are fearful that they're going to be losing a lot of work. So with that, I think my last questions to you guys would be, first of all, Tanja, where do you see the future of voiceover, let's say, in five years? Tanja: That's a great question. So I really do think that we are in the beginning of a new market, but that said, I don't think that we're in danger as voice talent of losing our jobs. And just because AI is going to be very powerful, and companies are going to want to utilize it, because for them it's less paperwork. And maybe these are companies that don't necessarily go out on Fiverr or voices.com or look at people's websites to find talent. They just don't have the bandwidth, or they would rather just work with a third party where they have a selection of voices already available, and they just sign an NDA agreement or something, and then they move forward. And then, so these companies are normally, in my opinion, not places we would be searching for clients anyhow -- Anne: Yeah. Tanja: -- or not clients that are readily available to us in our search, auditions or working with our agents or what have you. So that said, a lot of these places are going to be using AI, in my opinion, mainly for IVR, conversational with all these apps that are coming out, new apps, continuously, virtual assistants, probably smaller characters in games, non-player characters, and even e-learning, I think e-learning is going to be huge, or even folks making their websites more accessible, I guess, to all, by having an AI read their blogs or maybe customizing ads. Anne: Right, sure. Tanja: So you, you get the idea, it's like it's endless of what the use cases could possibly be. I think that this is a nice blend, a nice way for voice talent, to get additional marketing that maybe they would have to do themselves. And it would take longer. They'd work with new clients that maybe they wouldn't have sought out initially. And also their voice would be used ethically, I would say in five years, because I think all the companies that are not paying attention to ethics right now, in five years, we're going to know who they are. There's only so far you can go -- Anne: Yeah, yeah. Tanja: -- before your -- somebody's going to come out, concerns are brought up. So yeah, I really do think, you know, we'll be more educated then as voice talent on what the market is. And I think if we get in on the market now, we'll be there when it's saturated in the future, we'll still be there. So I don't see any problems or concerns myself as a voice talent. We just need to educate ourselves and really ask those hard questions and make sure that it is something that we're comfortable with and then move forward. Passive income is never a bad thing. Anne: Well, I agree with you there. [laughs] Zohaib, where do you see the future of AI and the future of Resemble in five years? Zohaib: Yeah, so Tanja kind of mentioned all sorts of interesting concepts that we might see in the future or we're already seeing now. So that's, that's one thing. So there are a lot of interesting things that we can do. And honestly, I'm in the camp that I don't quite know exactly what the answer to that question is. I can make really good predictions, but a lot more people are a lot more creative than I am. So they will figure out where to use this. So already we have some interesting use cases within EdTech and within banks to like old companies that you would think would never do anything innovative, but since they have the solution now, they're able to be a bit more flexible with what they can do. But in the long run, I think a good parallel to look at is, if you look at how movies were made and especially like visuals, so you went from this world of actors to like stunt actors perhaps, or from stunt actors, actors, whatever you had for a long time, we did that little dance. We went to like a green screen -- Anne: Yeah. Zohaib: -- you know, which is more recent. Then we had like technology like mocap that came out where you just wear a suit, and then you kind of just do the action and maybe the face stays still. And that's, that's the rest. There's a, there's a movie on Netflix called The Irishman -- Anne: Yup. Zohaib: -- which they take, I believe, Robert DeNiro and make him older. And those are like all things that, you know, that's a very good path to look at when you're looking at audio, because we're lucky in audio that we're kind of the last people that people think about. It's like kind like the addition at the very end, like, oh no, we needed someone to voice over. And what I think we want to do is kind of become like the first thought that people have is like, oh, this is a core part of the -- Anne: Sure. Zohaib: -- entire movie or the entire product. Anne: Absolutely. Zohaib: And you have a lot of these scenarios where you have these gorgeous looking movies that get like really high budgets, and the, the dialogue and the VO is just so underwhelming because it's such a last minute effort to piece that together. And sometimes the writing and the dialogue doesn't kind of go hand in hand, or sometimes there's just not enough time to improvise as voiceover talent. And we kind of want to change the way that works. And I think like in five years or so, you will start seeing a lot more experiences that will involve AI voices. And I'm not sure if those experiences are what we see today. Perhaps you'll start seeing dubs of movies and films where the original voiceover talent is -- that type of voice is kept and the character is still kept, but they're now speaking Mandarin or Japanese or Spanish without worrying that, hey, it sounds like a different character that can be jarring to the entire experience. Anne: Right, right. Zohaib: So yeah, there's, I think there are plenty of things, but if you just take a peek at like the computer vision and the visual world, there's like a pretty clear path or some sort of a vague path where AI voices can go as well. Anne: Well, you guys have been so gracious. Thank you, both, so very much for joining me today and having such an interesting conversation. Where can my listeners go to find out more about you guys? Zohaib: Yeah. You can go to www.resemble.ai. We're also Resemble.AI on practically every social media thing out there. You can email any of us. You could get all of us if you email team@resemble.ai. They'll send an email to everybody. Yeah. You can find out more. Anne: Well, thank you, guys, again so very much. It's been a pleasure having you here. I am going to give a great, big shout-out to my sponsor, ipDTL. You two can connect like BOSSes and find out more at ipdtl.com. You guys, have an amazing week, and we'll see you next week. Bye! Zohaib: Bye. Thanks for having us. Tanja: Bye, thank you so much for having us. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to Coast connectivity via ipDTL. CONNECT + FOLLOW Twitter @vo_boss Instagram @vo_boss Facebook /VO BOSS YouTube VO BOSS SUBSCRIBE YouTube https://www.youtube.com/c/VOBOSS Spotify https://rb.gy/meopx8 Apple Podcasts https://rb.gy/chdamm Amazon Music https://rb.gy/luw83x Google Podcasts https://rb.gy/koc3ls Stitcher https://rb.gy/hslkgj TuneIn http://tun.in/piZHU iHeart Radio https://rb.gy/uixh90 Pandora https://rb.gy/knoz7c SPONSORED BY ipDTL: https://ipdtl.com Anne Ganguzza Voice Productions: https://anneganguzza.com

Just idag tar vi och pratar med våra respektive huvudtränare om de täta matchandet i Europa och Allsvenskan för herrarnas del och uppstarten inför hösten för damernas del.

Möt Hammarbys nya tränare Milos Milojevic. Den 38-årige serben är uppväxt i staden Knjaževac och har via elva år på Island byggt upp grunden för sin tränarkarriär. Han tog Mjällby AIF från Ettan Södra upp till Allsvenskan och var sedan assiterande tränare till Dejan Stankovic i Röda Stjärnan. Under säsongerna 2019/2020 och 2020/2021 vann de serbiska ligan två gånger, serbiska cupen och tog sig långt i Europa League. Nu är han tränare i Hammarby och har som mål att etablera sig i toppen av Allsvenskan och vinna SM-guld. Vi snackar också om hur otroligt lik han är Roger Federer, vilken typ av tränare han är och hur han vill spela fotboll med Hammarby. Vi prata också om Björn Paulsens roll i laget, kravställningar på träningarna och vilka tränare han tagit inspiration ifrån.För att höra våra Daily Show-avsnitt, bli Patreon på: https://www.patreon.com/studioallsvenskan See acast.com/privacy for privacy and opt-out information.

Just idag pratar jag med Milos Milojevic om första dagarna i klubben, Aimar Sher om återstarten och Johan Lager om hans syn på säsongen och truppen

Welcome to Episode 35! In this discussion Mat, Tash, and Arch talk with Michael Milojevic, Professional Teaching Fellow at the University of Auckland's School of Architecture and Planning. Michael discusses his early interest in archeology and entry into architecture, his teaching journey and experiences, and what he's seen change over his time teaching. Episode cover photograph by Michael Milojevic Theme music by The Cosmic Wheels

Tanja Milojevic had a passion for audio since her childhood and has followed her dream of becoming a voice artist and now creates, participates and collaborates with many other creatives in the field of voice artistry. From voice overs, audio description, and her favorite pastime, Audio Dramas. Tanja joins Jeff Thompson in the Blind Abilities studio to talk about how Tanja arrived at being a Voice Artist and what was the driving forces that kept her goal in mind.  Through her educational journey and trying to find her place, audio books, and dramas became her favorite adventure after homework was done. Her drive and curiosity led her to reach out to the voice artist community and her voice found a home in a variety of challenges that Tanja took on.  Her podcast, Lightning Bolt Theater of the Mind  Is a creative venture with her besties and other creatives doing what they love to create. Tanja is involved with a company called Storymore and they will be releasing a new app on iOS and Android where you will be able to get a variety of Audio Drama works. You can find out more about Tanja and her Voice Artist work on her web site, Tanjamvoice.com . Here are some more links from the episode: Storymore on Facebook Voice Acting alliance Facebook Group on Facebook QC acoustics Recording Booths Gold Wave Audio Editor, recorder for PC, iOS and Android   Contact Your State Services If you reside in Minnesota, and you would like to know more about Transition Services from State Services contact Transition Coordinator Sheila Koenig by email or contact her via phone at 651-539-2361. Contact: You can follow us on Twitter @BlindAbilities On the web at www.BlindAbilities.com Send us an email Get the Free Blind Abilities App on the App Storeand Google Play Store. Check out the Blind Abilities Communityon Facebook, the Blind Abilities Page, and the Career Resources for the Blind and Visually Impaired group

Switch Entertainment & Uncoded Radio Present SWITCH CODE Mix by Karmina Milojevic - Exclusive Mix. Country : Paris, France Radioshow : Every Monday ( 20:00 - 00:00 ) on Uncoded Radio - 24/7 Non-stop Amazing Techno Music Website : techno.uncoded-radio.com Powered by Switch Entertainment © 2021 Switch Entertainment

Switch Entertainment & Uncoded Radio Present SWITCH CODE Mix by Karmina Milojevic - Exclusive Mix. Country : Paris, France Radioshow : Every Monday ( 20:00 - 00:00 ) on Uncoded Radio - 24/7 Non-stop Amazing Techno Music Website : techno.uncoded-radio.com Powered by Switch Entertainment © 2021 Switch Entertainment

Hello folks!YES MADIVA IS BACK and OH MY  is this season jam packed with audio grooviness for you VOICE ACTORS OF AUDIO JOYYY!This first episode looks at 4 people's HOME RECORDING SETUPS1) Jerry Kokich - Iphone7 and plug in mic2) Brianne Leeson - Duvet Fort3)Kirsty Woolven - OVC Booth4) Tanja Milojevic - QC Acoustics boothList of equipment they provided is below - and do check out their shows - they're all awesome folks and I send hearty thanks to them all for coming on and sharing their wares.THERE is NO EXCUSE not to just get cracking with those auditions folks - you can edit for free on audacity and be up and running with a phone and a $25 mic - GET TO IT - GO GEDDEM! (Tho of course there is nothing wrong with aspiring to have a booth huh>!)HAPPY VOICE ACTING FOLKSSarahxLINKS TO FOLKS AND THEIR WARESJerry KokichPHONE AND PLUG IN MICiPhone 7Recorder plus pro app $1.99Saramonic external microphone $25Edit on WavePad.Look out forSevern Studios worksJerry Kokich website Jerry on InstaPoet's Passion SeriesBrianne LeesonDUVET FORTAudio technical AT 2020Behringer Euphoria HD InterfacePop filterAudacity 2016 MAC LaptopLook out for:Todays lucky winner websiteTodays Lucky Winner FB GroupLucky winner show InstaLucky Winner on twitterKirsty WoolvernPVC BOOTHRODE NT1-A XLR  CONDENSER MICScarlett Solo Interface 3rd genHeadphonesLarge ScreenMic StandPVC BOOTH -PVC pipes -20k curtains - Vocal booth to goLook out for:Y2K - Karin HeimdahlCyclone - Coming 2021 - Graz RichardsJoon Yoon - Twitter @VoiceMoto - DATABASE OF REC SPACESFind @KIRSTYWOOLVEN On FB Instagram and TwitterTanja Milojevic BOOTHQC ACOUSTICS BOOTHS WEBSITE - QCACOUSTICS.COM $4000EDIT BY KEYBOARDAMAZON CHAIRBluebird condenser mic $300+Mic stand $20Stedman pop filter $40Universal mic clip $5Audio YA 87Sennheiser MKH 416 - directional and rugged dynamic $700 Focusrite Scarlett 2i2 USB Plug in $80-$120Sony Headphones in earNuk intel micro computer 32GUSB HUBLook out for:WordtasticLightning Bolt Theatre of the mindOnline sites to peruseSweetwaterThomannVO Gear Exchange on FBSupport the show (https://www.patreon.com/QuirkyVoices)

Interview with Tanja Milojevic, Voiceover Artist In this episode, we interview Tanja Milojevic's, a voice over talent who has recently started to do voice narration for audio description. She tells her story about what it is like to get into this world as a voiceover talent who also happens to be blind.  Along with her inspirational story, you will hear advice and suggestions and ideas for other visually impaired individuals who may want to get into this growing field! Tanja is an inspiration to all. To leave feedback, suggestions, or ideas for a future podcast, please get in touch with the Picture this team by emailing your comments to or leave a voicemail at 857-302-2817. We may use your email or voicemail in a future episode. Show Notes: Tanja Milojevic's Contact Information Website: Email: Library of Congress Talking Book Program – Audio Editing Software Gold Wave- Reaper- Massachusetts Commission for the Blind – Resources to learn about Audio Description: Audio Description Discussion Group on Facebook- Audio Description Project: Producers of Audio Description Mentioned: International Digital Center- Audio Eyes- Song Exploder, Netflix Documentary Series-

Tonight for our Halloween week performance Jack and David go seeking in the dark and dank areas of Lightning Bolt Theatre of the Mind with a special feature from Krystal Donahue entitled Opferung! Trick or treat!

Tonight in a cross-over extra of the Sonic Summer Parlour series, the Queen of Audio Drama- Tanja Milojevic from Lightning Bolt Theatre of the Mind joins our Amigos Lothar Tuppan, Jeffrey Billard, and Jack Ward to discuss a classic episode of Nightfall from CBC radio- "Beauty's Beast!"

Tonight in a double-frighture for Halloween Night we present the last performance of Chatterbox Audio Theater with "The Cask of Amontillado" and "Faith" by Electric Vicuna Productions starring the incredible Tanja Milojevic and produced by Scott Mosher. 

Tonight Jack speaks with Steve Schneider, Tanja Milojevic, Richard Summers and Owen McCuen about their recent work in 11th Hour Productions Heavenly Deception.

Tonight Jack sits down with the incredibly talented writer, producer, director, and queen of audio actresses, Tanja Milojevic from Lightning Bolt Theatre of the Mind

David and Jack find themselves surviving the wreck of the Windshearer while listening to a chilling improvisational skit with a micro cast and macro goosebumps from a new audio collective, Odyssey Audioworks from Captain Radio himself and Tanja Milojevic and a comedic sketch from Thrilling Adventure Hour's Sparks Nevada- Marshall on Mars! 

Jack and David face off against Vampire Lizard Queen of the Dead City as they fight to survive. Bringing us salvation is part 3 of Simon Neilson's continued epic Children of the World's End! Special Sonic Guest Star: Tanja Milojevic from Lightning Bolt Theatre of the Mind!

The end of the Videk Agenda brings us an original full length Wavefront episode from EVP starring Jack Ward, Genevieve Jones, Tanja Milojevic, David Ault and John Bell. Production Editing, and sound design by Michael L. Stokes. Music by Sharon Bee, Michael L. Stokes and Kevin MacLeod courtesy of Incomputech.  Thank you EVERYONE from all of us at the Sonic Society for 350 regular season episodes. What a triumph!