Podcasts about saisho

En los desayunos de Capital hablamos con Carlos Suárez, Founder & CEO de Saisho y Guillermo Balmaseda, Fundador de Muncharaz y Responsable de SAISHO PARTNERS. Además en Digital Business nos pone al día de toda la actualidad Paco González, Ceo en Core Capital. Y en La hora de las Fintech mesa redonda con Salvador Molina, presidente de Foro ECOFIN y MAD FinTech; Pablo Moya, director de Innovacion de Teknei; Yolanda Alfaro, directora de consultoria de Globant; Javier Moreno, socio director de QMT y con Laura Giménez, directora de *SOS Mayores.

Escuchanos en Apple Podcasts | iVoox | Spotify | Google Podcasts | Feed Hoy traemos al podcast a Lídia Vives, una artista que usa la fotografía para expresarse. Si no lo conoces aún, estás tardando en escuchar la entrevista, conocer su obra fotográfica y escuchar todo lo que tiene que contar sobre la fotografía artística y todo lo que hay detrás, desde la parte de negocio como del proceso creativo Te recuerdo que esta semana sigue publicándose los nuevos capítulos del curso de iluminación y el 3º curso de Photoshop. Lídia Vives Es una fotógrafa artística, de moda y comercial que vive actualmente en Barcelona. Está representada por Fifty Dots Agency (barcelona) y por Inqubator’s Art Gallery (Australia), Espai Cavallers, Saisho y Léucade (España). Podemos destacar que Vogue Italia la ha seleccionado dos veces como «Best of», su obra se ha expuesto en el museo del Louvre y ha ganado diversos premios de fotografía. Es embajadora de Sigma y Pentax. Imparte formación mediante workshops y conferencias en España y México. También ha publicado un libro titulado «Ópera Prima». Parte de su portfolio También puedes encontrarla en: Para conocer más sobre ella y sobre su obra, te dejamos los enlaces a su web y a sus redes sociales, no te lo pierdas. Web: https://www.lidiavives.com/Instagram: https://www.instagram.com/lidia.vives/Twitter: https://twitter.com/lidiavivesphoto Gracias por suscribirte a los cursos, por tus valoraciones en Apple Podcasts, comentarios y me gusta en Ivoox, por escucharnos y seguirnos en Spotify. Un saludo y hasta el próximo lunes a las 07:00.

Researcher and physician Yoshifumi Saisho is on a mission to change diabetes treatment in his country. His research on the physiology of type 2 diabetes in Japan versus the U.S.A. makes an exciting case for his argument. Listeners will be treated with an explanation of his model-shifting findings and learn  How beta-cell numbers in our pancreas connect with diabetes development, What these beta cells indicate when non obese patients in Japan develop type 2 diabetes at the same proportion as their more obese American type 2 counterparts, and Why Yoshifumi Saisho argues for a paradigm-shift view of diabetes from a glucose-centric disease to a beta-cell–centric disease. Yoshifumi Saisho is a researcher and physician with the Department of Internal Medicine at Keio University School of Medicine in Tokyo. When he began his career, he decided he wanted to be a doctor that would treat the entire patient rather than just one part. He also was focused on preventative aspects of disease. These two motivators still dominate his work and he shares compelling evidence about diabetes manifestation that centers on beta cells. He says that pancreas tissue samples have shown that beta-cell mass is reduced by around 50 percent in patients with type 2 diabetes. Also significant, patients in Japan who develop type 2 diabetes are not as obese as American diabetics but both share this reduction in beta cells. How does this happen and why does it matter? Well, it's our beta cells that make insulin. He explains his theory for why this lower beta-cell number happens. When we eat excess carbs, he says, beta cells release insulin to take care of it. Humans don't increase beta-cell numbers under excess sugar, so each beta cell works harder to release more insulin. Therefore, he thinks that these beta cells die off from exhaustion and overwork. Preservation of beta cells must be important and this is why he'd like to change how the Japanese view diabetes. Japanese treatment for diabetes views it as a glucose-centered problem but he argues that if health professionals shift to seeing it as a beta-cell disease, treatment and prevention will be more successful. He hopes to appeal to the concept of avoiding wastefulness. We need to apply conservation language to our physical body's resources as well, he adds, and utilize nutrition and fitness facts as tools for reducing beta-cell workload. In other words, beta cells are a limited and precious resource in our body.  For more about Yoshifumi Saisho's work, he suggests googling his name. Here are Yoshifumi Saisho's recent two papers and the website for ResearchGate for more information. https://www.tandfonline.com/doi/full/10.1080/14656566.2020.1776262 https://www.emjreviews.com/diabetes/article/editors-pick-how-can-we-develop-more-effective-strategies-for-type-2-diabetes-mellitus-prevention-a-paradigm-shift-from-a-glucose-centric-to-a-beta-cell-centric-concept-of-diabetes/ https://www.researchgate.net/profile/Yoshifumi_Saisho Available on Apple Podcasts: apple.co/2Os0myK

En esta edición de Gabo te lo dijo conversaremos sobre uno de los puntos más importantes en el deporte y que en el país no se le da la importancia necesaria. La Psicología deportiva cumple un rol fundamental y el día de hoy vamos a averiguar cual es esta función.

In Japan "Kagome Kagome" is an old children's game and the song that goes along with it. It's interesting because the mysterious lyrics have several different interpretations and most of them are pretty grim. So listen to episode 53 of Uncanny Japan where I talk about this creepy song and several of the theories behind those odd lyrics. You can also find me on: Twitter: https://twitter.com/UncannyJapan Facebook: https://www.facebook.com/uncannyjapan/ Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyjapan/ YouTube: https://www.youtube.com/channel/UCqAtoUS51HDi2d96_aLv95w Website: https://www.uncannyjapan.com/ Notes: Intro/Outro and that final creepy Kagome Kagome piano and rain bit by Julyan Ray Matsuura. Here and here. And here. Transcript: An Introduction to Kagome Kagome Let’s play a game. You’re in a field on a warm, breezy spring day with a dozen or so children. Everyone gathers around, and then a boy calls out: “Saisho wa gu!” All of you stretch out your arms and in unison make a fist when he says the word “gu”. Then without breaking rhythm the boy calls out: “Jan ken pon!” Next, perfectly timed, at the word “pon” everyone makes one of three hand shapes: a fist for rock, called gu; two fingers for scissors called choki; or an open palm for paper, pa. After a quick glance and noticing it’s a draw with mix of rock, paper, scissors all being shown, he quickly sings out: “Aiko desho.” Another draw, “Sho sho sho!” “Sho sho sho!” Over and over until finally you’re standing there, your arm outstretched, your hand flat showing “pa” or paper, while all the other children are sporting scissors, choki. You lose. Everyone laughs. You’re It. In Japanese games if you’re “it”, you’re called the “oni” or ogre or demon. A little girl pulls a long piece of cloth from her pocket and makes you sit on the ground. She starts to tie the blindfold around your head. Before everything goes black, though, you see all the other children join hands and make a circle around you. The cloth is tied tightly. You are effectively blinded. The children begin to sing. “Kagome kagome” Welcome to Today's Show Hey hey, everyone. How are you all doing this pre-rainy season. I’m doing okay, thank you. I hope you are all healthy and happy. One cool benefit to living in this old house is that my backyard is literally a series of rice fields. Last week I watched the farmer till them, flood them, and then plant them. I don’t know how frogs work exactly, like why don’t they get ground up into mulch when farmers till? But there is one thing I do know, the day after the water hit that dirt, they came out en masse. Listen to them all jolly-like. A heads up to my five dollars and up Patrons, you’ll be getting a 30 or 40-minute binaurally miked frog symphony to chill out to soon. Longer if you’d like. These guys are at in all night long. "The Hell Carrot" Animation Now before I get into today’s topic, I’m really excited to share something wonderful and free with all of you. We’ve made an animation for an obscure Japanese folktale I translated and retold. We being John Cairns, writer, director, editor, and animator. He did the movie Schoolgirl Apocalypse. Absolutely check him out, and watch the trailer for that movie on Youtube if you get a chance. So John did the animation for the story. Second was Rich Pav, who you’ll remember does all things sound and tech-related for Uncanny Japan. He did the sound effects. And finally me. All I did was find the story, retell, and narrate it. The story is called “The Hell Carrot”. It’s on the Uncanny Japan Youtube channel. But you can find it by simply Googling The Hell Carrot. If you listen this podcast and have an inkling of interest in Japan and quirky stories, I really think you’ll enjoy it. I am so proud of what John and Richard did. So if you’d be so kind, while you’re there, you can give the video a thumbs up and even let us know what you think. Okay, on to today’s topic. After last week’s “putting a curse on someone” episode, I thought I’d do something light. But, um, that didn’t happen. Sorry. You see, there’s this other topic I’ve been dying to talk about and, again, since I have more time now, I was able to read up on it some more. And the more I read the more I wanted to share it with you. Have you ever heard of the Japanese children’s song called “Kagome Kagome”? The game itself is a little like blind man’s bluff. One child is chosen to be an oni, blindfolded and made to sit on the ground while all the other children hold hands and walk around the oni singing the Kagome Kagome song. How to Play Kagome Kagome The last line of the song is basically, Who is behind you? So when the song stops, the seated child guesses which one of their friends is directly behind them. Not scary at all. What’s chilling are the lyrics. Not outright scary in and of themselves, mind you, but nuanced in such a way that there are dozens upon dozens of theories about what they actually mean. And most of these meanings are quite dark. I guess it’s like those old western nursery nursery rhymes that have sinister meanings, like London Bridge and Ring Around the Rosies. But we all know about them. I thought Kagome Kagome might be new to you, so here we go. Meaning of the Lyrics First, here is the most common version of the lyrics: Kagome kagome / kago no naka no tori wa Itsu itsu deyaru / yoake no ban ni Tsuru to kame ga subetta Ushiro no shoumen daaare? Very generally that would be: kagome, kagome, a bird in a cage, When oh when will it come out? In the night of the dawn, the crane and turtle slipped Who is behind you now? That’s more or less a literal translation and probably what little children think when they sing it. However, there are a lot of people through the years, scholars included, who have different interpretations of the song. So let me talk about a few. But first the words kagome, kagome. It isn’t even agreed upon what those two repeated words mean. Kagome could mean: 1. The holes in the basket that is referred to 2. The shape of those holes, which would be a hexagon 3. A pregnant woman 4. A caged bird 5. A corruption of the word kakome, which means to surround or circle Or finally number 6, it could mean to be lost Now let me take each line of the chant and shed a little more light into what they mean before getting into the various dark speculations. Kago no naka no tori wa: The word kago can mean cage or basket, so a bird inside a cage or basket is the obvious meaning. However, some believe the word tori isn’t bird but a torii, or a shrine gate. And that kago means a bamboo fence. A torii surrounded by a bamboo fence, would mean a shrine. Then you have the people who translate kagome as a pregnant woman. In that case the bird inside a cage would refer to the woman’s unborn baby. Next line: Itsu itsu deyaru Deyaru could be translated as deau. When oh when will we meet? Or When oh when will it come out? Next: Yoake no ban ni: This line threw me. Yoake means the end of night, so dawn. But ban means night. So it’s a contradiction, in the night of the dawn. Some think it just means nighttime, some say it means from morning until night, some believe it means an inability to see light, and some hold that it refers to a time of day that is neither night nor day, a twilight time. Okay, next: Tsuru to kame ga subetta: Tsuru means crane and kame, turtle; both symbols of long life and good fortune. Suberu means to slip. Subbetta is past tense. They slipped. The idea of two lucky symbols slipping could mean misfortune or a life that has been shortened, or even death. The last line: Ushiro no shoumen daare? Literally, who stands behind? I read that it could also be ushiro no shonen daare? Who is the boy behind. But either way the line is asking who is behind. Sounds innocent enough. Well, let’s get into a couple of the theories and they’re all grim. Interpretation 1: The Forlorn Prostitute The first one is that the song is about a woman who was forced to be a prostitute. Kago no naka no tori wa: She’s the bird in a cage. Itsu itsu deyaru: When oh when will I be able to escape this life. And very sadly, the last line meaning who stands behind is her asking who is next in line? Interpretation 2: The Murdered Pregnant Woman A second notion states that it’s a song about a pregnant woman. Remember that some interpret kagome as meaning a pregnant woman? Well, the tori in a cage is referencing her unborn child and she’s asking when oh when will it be born? The twist, at some strange hour she is murdered, one version saying she was pushed down some stairs: tsuru to kame ga subetta. The last line is her ghost asking ushiro no shoumen wa daare, who is standing behind me, who is it that murdered me? Interpretation 3: The Executed Convict Okay, idea number three. That it’s a tune about a convict about to be executed by having his head cut off. The bird in the cage is the convict. The crane and turtle slipping are both his bad luck and the fact his life is going to be shortened very soon. The last line is really interesting because there are variations on its meaning. One, simply who is behind me or who is the executioner going to be? A second more exciting theory, the prisoner get executed, his head is now on the ground in such a way that he sees his own body but doesn’t recognize it. Who is that behind me? Interpretation 4: The Monstrous Child Okay, one more dreadful idea is that this sweet children’s song is a song being sung by a monster child. He’s locked up, kago no naka no tori, and wondering when he will be released. But the truth of the matter is, the child has killed his entire family. No real details, but there is also the idea that by joining in on the chant, the children circling are invoking some kind of god to descend into the child sitting in the middle. What for? I don’t know. And lastly the only positive interpretation I could find was that it was a a chant giving hints to where a treasure is buried. But no thoughts as to what those hints aer or where exactly that treasure might be. I mean those are some pretty vague hints. Something I find intriguing about kagome kagome is that while the children’s songs I grew up with might also have a more sinister underlying meanings, it’s generally agreed upon that there is a single hidden meaning per song. For example: Ring around the rosie a pocket full of posies ashes ashes we all fall down is about the black plague. Kagome Kagome has so many different interpretations and no one can agree on any one of them. Which is kind of mysterious in and of itself. So which story do you like best? The prostitute, the pregnant woman, the prisoner, or the monster child? Maybe you like invoking gods or searching for impossible to find treasures. Or have you heard of a different theory of the meaning to the old children’s song Kagome kagome? If you have please let us know. Or have you made up one yourself? The lyrics are definitely up for interpretation. So that’s all for today’s show. Remember to search for The Hell Carrot and watch the animation John Cairns, Rich Pav and I made. It’s a hoot. And if you’d like to support the show, you can on Patreon for as little as two dollars a month, although for $5 you can get access to over thirty retold Japanese folktales, binaurally miked soundscapes, recipes and more. My patrons are made of awesome and sweetness and I think you’d fit right in. Thank you all for listening, stay healthy and safe, and I’ll talk to you again in two weeks.

The point of view that A. Brehme's music brings to techno is phantasmal. Although he notoriously crosses genres, Saisho is evidently techno. Limited to 200 vinyl copies, it marks the start of the Sonata Forma imprint. Read more at https://mnmt.no/blog/listen-brehmes-saisho/ All tracks written & produced by A. Brehme Mastered by Neel at Enisslab Cat. No. SONATA001 – All rights reserved ℗ & © Sonata Forma 2018

The point of view that A. Brehme's music brings to techno is phantasmal. Although he notoriously crosses genres, Saisho is evidently techno. Limited to 200 vinyl copies, it marks the start of the Sonata Forma imprint. Read more at https://mnmt.no/blog/listen-brehmes-saisho/ All tracks written & produced by A. Brehme Mastered by Neel at Enisslab Cat. No. SONATA001 – All rights reserved ℗ & © Sonata Forma 2018

(Transcript available) Hitori kakurenbo (一人隠れん坊 ) means playing hide and seek by yourself. It sounds silly, but it's actually a super creepy, Japanese urban myth that involves you all alone at night with nothing but a stuffed animal, some red thread, and a knife. Come listen to this month's Uncanny Japan where I talk about how to play hitori kakurenbo while my binaural mics pick up all the sounds of sitting beside a river at dusk. This month is the first time there's a transcript of the show. Podcast itself at the bottom of the page. Notes: The intro/outro music of Uncanny Japan is a song by Christiaan Virant (“Yi Gui” from Ting Shuo).  The whole album is just gorgeous as it everything else by FM3. Transcript Hey hey everyone, this is Terrie. I just got back from Rhode Island where I attended StokerCon. If you're new to the podcast or you didn't listen last month and maybe you just don't know, I was nominated for a Bram Stoker award from my collection The Carp-Faced Boy and Other Tales. Joe Hill indeed won the award and I'm totally OK with that because I met so many amazing people and had a great time. But, after returning to Japan, I find I'm in a kind of creepy mood. Maybe it was being around all those horror writers or maybe it was being in the haunted Biltmore Hotel, I'm not sure, but today's podcast is going to be a scary one, so be warned. Or better yet, wait until it's late at night when you're all alone and then listen to this with your headphones. Today I'm going to tell you about a Japanese urban myth called "hitori kakurembo." "Hitori" means alone or by yourself and "kakurembo" is hide and seek. So it sounds silly, right? Playing hide and seek by yourself, but it's not. It's some really messed up stuff. Real quick, I first heard about this back in 2007 and I wrote about it online in 2010. I'm pretty sure I was the first, if not one of the first people to ever write about this in English at the time, but some jerk stole my article, changed a few words and he got a whole bunch of attention and, well, anyway, just recently I checked and there's a whole bunch of stuff out there. Uh, YouTube videos, stories, everything about hirori kakurembo. So, if you're brave and you want to read more about this, there's always that. So let's get started. Here's how you play "hitori kakurembo" or hide and seek by yourself. What you'll need: You need a stuffed animal that has arms and legs. A heads up, it's probably a good idea to buy something that you'll want to dispose of, hopefully burn later. You don't want to use any kind of stuffed animal that has sentimental value or that you're particularly fond of. You'll need some rice, fingernail clippers, a needle and red thread, a knife or a box cutter or some instrument that is used for cutting, and lastly, a cup of salt water, although I've read that sake also works well. Before you start playing the game, there is some setup that needs to be taken care of. First, give your stuffed animal a name. For argument's sake, let's say you're using a teddy bear and his name is Cuddles. Slice Cuddles open right through the belly and remove all his stuffing, replacing it with rice and also some of your fingernail clippings. Use the needle and thread to sew, cuddles, back up, and if there is any more thread, instead of cutting it, just wrap it around the doll. Next, find a place where you want to hide and put the cup of salt water there. A closet is recommended, probably easier to get into then under a bed. Then you'll go to the bathroom and you'll fill the bathtub with some water. A sink will do in a pinch. It doesn't have to be full, but just enough to kind of submerge Cuddles. Make sure no one is home or coming home soon. Wait until it is 3:00 AM and now you're ready to start the game. You start by taking Cuddles into the bathroom and you say, well in Japanese it's, "Saisho no oni wa watashi dakara," which means in English basically, "For the first round, I'm it." And you say that three times. But instead of saying "I'm it," you say your name, so, "For the first round, Terry's it. For the first round, Terry's it. For the first round, Terry's it." Then, you drop Cuddles into the water and you leave the bathroom. You turn on the TV to a channel with static. Now, I don't own a TV and haven't for awhile, so I don't even know if they have stations with just static anymore, but back in 2007 they did. So you do that. So the TV's on, Cuddles is in the bathroom, you go, you turn out all the lights in the house. You're allowed to use a small flashlight. I'm guessing a lot of people use the flashlight on their cell phones. So, you're in the dark, you stand there with your eyes closed and you count to 10. After you reach 10, you return to the bathroom and using your little flashlight, you find Cuddles and the water and you say, "Cuddles mitsuketa," or, "Cuddles, I found you." And again you say it three times. You retrieve Cuddles from the water and you stab it through with your knife or your sharp instrument and you drop him back into the water. Next, you say, "Tsugi wa, Cuddles ga oni dakara." And you say that three times, you say it in English, which would be, "Next, Cuddles you're it." And then, you turn and you run out of the bathroom and you find your hiding place with the salt water. All the lights are still out, you turn your flashlight off, you get very quiet and you wait. Now this is when all kinds of weird things are supposed to happen, so you're just quiet, the house is, dark, the TV's on some kind of staticky channel, and theoretically Cuddles is looking for you. If you go online, you can find all kinds of stuff that people say happened ah, again, even YouTube videos now, recordings, the TV's supposed to turn off and on, it changes channels, you hear footsteps, you hear voices, uh, you name it, people have experienced it. It's kind of fun to look around and see what people are writing about. But anyway, you stay hidden, right? You don't want to come out at least not yet. So you stay there until you can't take it anymore or until there's a lull in whatever activity seems to be going on, and then you end the game. In order to end the game, you take your cup of salt water and you sip it, don't drink it, you sip it and you hold the water in your mouth. You take the cup and your flashlight and you leave your hiding place and you go and you hunt for Cuddles. The operative phrase here is, "hunt for Cuddles," because it's said that a lot of times he will not be where you left him in the bathtub, he'll be somewhere else. So let's assume that you find him and he's not poised with a knife ready to jump at you from, like the top shelf of something, so you find him. What you do is you quickly spit the water all over him and then you douse him some with what's left in the cup and you say, "Watashi no kachi," three times, which is, "I won, I won, I won," three times. The rules state that you have to finish the game within two hours, which is probably a good time, you don't want to let him out there wandering around for too long. And, after you find him and after you douse him with the water, uh, within the next day or two, you should probably burn Cuddles. I first fell in love with this urban myth over 10 years ago because kids would play it in real time on the Internet with each other and then other people could watch and kind of lurk and see what was going on. So they're doing this, the setup all together. They're showing pictures of which animals they're using, what names they're giving the animals, they're texting back and forth and showing their hiding places, using their phones to take photos, like, they'll reach out from the hiding place if they hear a noise and they'll take a photo in the dark, and recording or just recording things like the TV going nuts or sounds, and it's really, it's just so suspenseful and kind of cool to be a lurker and all that because I sure wasn't doing it. And the best part was invariably one of the people in the group would have forgotten to bring the salt water to his or her hiding place, and the whole group that's participating would start to worry about this person and then that person would suddenly, you know, like, they're, they're hearing sounds, there's someone coming, there's someone in the room, they can hear someone in the room, there's someone at the door, and then abruptly they'd stop texting...and just stop. They never texted again. It was done and the entire group would freak out and I'd freak out. Like I said, there's a lot online about hitori kakurembo these days, and being an urban myth, a bunch of new things have cropped up and evolved over the years. There's something about a chicken heart now, but basically I like the bare bones, what I just gave you, that's the original. And it's really just awesome. It's well honed, and it's a creepy game and it's perfectly suited for this Internet generation that we have here. So if you're brave, you can try it. And if you're just a little bit brave, you can go and you can read or watch YouTube videos. Thank you for listening. Sleep well and I will talk to you next month.