#when that show had a huge focus on tackling social issues that were relevant to kids/teens especially kids of color

[creepyjirachi]

the eternal struggle of wanting to watch an iceberg explained video but the host has the most surface level, barely researched commentary imaginable

[pinterestmarketingmanager]

Pinterest marketing strategy for  2021

Where Should You Be Focusing Your Pinterest Marketing Strategy in 2021?

Here are some areas I recommend focusing on in the New Year based on Pinterest’s recent changes and current best practices.

1.Focus On SEO (Search Engine Optimization)

Pinterest is a search engine, so the same way you would focus on SEO for your website, you need to do the same to succeed on Pinterest.

There are two easy ways you can focus on Pinterest SEO in 2021: keywords and pinning to relevant boards first.

Do Your Keyword Research!

In 2021, your Pinterest strategy needs to include keyword research.

Even with Pinterest hiding pin descriptions, they are still being used to help distribute your pins!

Your descriptions might look different across Pin formats and devices. Sometimes people will see the full description in their feed, and sometimes they’ll only see the Pin title or a few words of the description. No matter what shows in people’s feeds, know that your description is working hard behind the scenes to get your content in front of the right people.

When adding keywords, use niche-specific keywords in your profile description, name, board descriptions, and pin descriptions. Then, do Pinterest keyword research for each piece of content you share and make sure those are in your pin descriptions to target the right people.

Your pin descriptions can hold up to 500 characters with the first 50-60 characters most likely to show in people’s feeds. Without keyword stuffing, make sure the description flows as a normal sentence or paragraph would. Create a description that has the most important information first, followed by more context. Lastly, include your call to action or what you want people to do when they click on your pin.

Pin To The Most Relevant Boards First, General Boards Second

This is another trick to improve your Pinterest SEO.

To help them better understand how to categorize your content, you should pin to the most relevant boards first.

That means if you are sharing a chocolate chip cookie recipe you should share it with your “cookie recipes” board before your general lifestyle boards.

Pro tip: To find out if Pinterest is categorizing your content properly, click on your pin and scroll down. If the related content Pinterest suggests is similar to what you’re sharing then you did a good job with your keywords and distribution. If the content isn’t related, consider changes your description with better keywords, sharing it to the most relevant boards first and making sure your image and copy are related to the subject.

2. Prioritize High-Quality

As a business owner, the sole goal of Pinterest marketing is to get your content seen. However, we tend to forget Pinterest’s trying to create the best platform for its USERS, not for us marketers.

This means they are actively acting on accounts that are spamming and adding content that goes against their Community Guidelines.

As a result, it’s become even more important going into 2021 to share new (“fresh”) quality content and be aware of their Community Guidelines.

What Does Pinterest Consider Spam?

According to Pinterest’s Community Guidelines, spam includes:

Unsolicited commercial messages

Repetitive or unwanted posts

Misleading content or behavior

Attempts to artificially boost views and other metrics

Off-domain redirects, cloaking or other ways of obscuring where a pin leads

Create High-Quality Fresh Pin Designs

The quality of your pins can make a huge difference in whether users will click on them or not, and whether Pinterest will distribute them.

In mid-February 2021, Pinterest made it clear they are prioritizing fresh content.

Fresh content is new images that have not been shared on Pinterest before. That means your older pins you were recycling aren’t going to drive as much traffic to your website anymore. Instead, pins that contain new images and text overlay, whether they lead to the same URL or not, are the new best practice!

Since Pinterest announced these changes I’ve played around with new pin designs for older content and the stats are definitely showing this strategy works! Users are responding and Pinterest’s algorithm loves it!

In addition to creating fresh pins, ensure you are following Pinterest’s best practices for pin design.

Pins should be:

Vertical; 1500 x 1000 px

Contain a high-quality photo

Text overlay that provides context,

Subtle branding

The elements stand out on mobile

Pro Tip: If you’re unsure at all about Pinterest’s new best practices, Tailwind has you covered with their SmartGuide and SpamGuard features. These features help you implement the new best practices by monitoring your pinning and alerting you to any issues. You will never have to worry about pinning too much or the same content to often because Tailwind can recognize it and let you know!

Only repin quality content from sources you trust

Pinterest is definitely making an effort to squash spam accounts, however, they still exist.

When I mentioned earlier that you can end up in Pinterest jail unintentionally, it’s often because you accidentally pin something added by a spam account. You wouldn’t know it either unless you clicked on every single pin to check where it leads.

Ain’t nobody got time for that!

Pro tip: A trick I like to use is to glance at the URL on the pin before scheduling them in Tailwind. If the URL looks weird, like it doesn’t match the brand name, then I will investigate further. It’s saved me so many times.

If you follow this guideline you will likely avoid Pinterest jail forever!

3. Create Multiple Pins For Each Article

Once upon a time, you could reshare the same pin after a couple of months and it would continue to drive traffic. However, with Pinterest’s effort to make the platform more enjoyable for its users they are flagging accounts that pin the same images repetitively (meaning YOU serial pinner!).

We’re sometimes asked whether it’s beneficial to save the same Pin to the same board multiple times. We don’t recommend doing this very often. Repetitive saving can create a disruptive experience and get flagged as spam. If you’ve done this in the past, there’s no need to go back and delete old Pins.

In 2021, it’s going to be common practice to continually create several pins per article and share those across the platform and Tribes. Known as “fresh pins” these will help increase your reach on Pinterest, attract new users, and stay off Pinterest’s bad side.

The goal of all this new content is to inspire Pinners to engage with, save, and click on your Pins.

You can save time by batch scheduling those pins with Tailwind. Take advantage of their free trial and schedule 100 fresh pins right now!

How To Hide Multiple Pins In A Blog Post

I currently use Tasty Pins to manage and hide all the pins I create for a single blog post.

When I user uses the “pin it” button or schedules to Tailwind they have multiple pin options to choose from and the keyword-rich description and title are attached for them.

4. Video Pins Are Going to Gain Popularity in 2021

Video pins have been around for a while, however, they’ve really started pushing them as an option for pinners.

In fact, Pinterest ran a contest in 2019 for the best video pin. If they are running a contest to promote the feature you can bet they are looking for more video pins on the platform.

2021 is going to be the perfect time to have a video pin strategy since they aren’t as competitive yet. Pinterest is putting video pins at the top of searches meaning they will get seen more often. With few users creating video pins yours will get seen more often (for now).

Video Pin Best Practices

According to Pinterest’s creative best practices, video pins should:

Be actionable (eg. teach someone something)

Start strong with a clear hook in the first few seconds

6-15 seconds for promoted pins, otherwise any length works

Be easily understood without audio (eg. text captions)

Have a strong cover image to catch someone’s eye in their feed

Follow Pinterest SEO with keyword-rich description and title

You can easily create video pins using apps like Wave.Video, Canva, and Audiogram.

Awareness vs. Action

Personally, I’ve found video pins great for impressions (they increase your reach), however, I have not had much luck getting traffic from them.

5. Create A Seasonal Content Strategy

In 2021, take your strategy up a notch and plan your seasonal content ahead of time.

When it comes to holidays or seasonal events, people use Pinterest to plan long before they turn to other platforms. Remember to factor this timing into your Pinterest content strategy.

We recommend that you start saving seasonal content about 30-45 days in advance. Activity will keep picking up as you get closer to the big day.  

Ideally, you should start sharing seasonal content 2 months before the holiday. This means in October you would have started sharing Christmas and Holiday content and in December content related to being your best self and Valentine’s Day.

If you sell products or services related to specific seasons create a content calendar specifically for Pinterest.

They make it easy to find out what’s trending each month with their Insights. Use these to help guide your content strategy.

Pro Tip: I like to go through old content on my website and create pins for them with seasonal images or colors that will attract seasonal browsers. If the content can be applied to a holiday or event, I might as well take advantage of the increase in traffic by creating fresh pins for it!

6. Hire Help – Get a Pinterest Manager To Hand Your Pinterest Marketing Strategy

Lastly, if you are truly ready to rock your Pinterest marketing in 2021, I recommend hiring someone to help with the task.

Pinterest marketing is it’s own thing, separate from social media, and takes TIME. Not only that, it takes specialized knowledge to know how to get the best results.

I understand not everybody has the time or knowledge to tackle this beast, which is why I offer my services as a Pinterest Manager.

If you would like to learn more about how I can help you and your business I recommend checking out my page and portfolio.

                                   Check Out My Portfolio

[fizzingwizard]

In winter I discovered the “Anne with an E” series on Netflix. Of course, I was excited, because I grew up with Anne of Green Gables - I am pretty sure I never finished the series, but I read at least half the books. I loved the early ones but lost interest when she grew up. I was not one of those kids who idolized adulthood; looking back, most of the stories I loved best were about kids, so I think I just didn’t connect with Anne the same way when she became an adult. I still adore her story, though, and the first book in particular.

(actually, I wrote my senior thesis on kids in literature, meaning outside of children’s/MA/YA books. It was fun)

The show’s been canceled after season 3, which I’m sad about, but it’s mixed feelings tbh. As usual I have Thoughts.

So there are a lot of great things about “Anne with an E.”

the intro is beautiful and fitting

the casting is pretty well done, imo. Matthew and Marilla in particular were just perfectly cast.

the setting, costumes, etc are really gorgeous, I get such a fresh, pastoral sense looking at it

the appreciation for and development of my quirky girl Anne is there

there is a huge focus on female relationships and friendships without much in the way of cattiness

the addition of some new characters and themes both keeps an old story alive and relevant while also pointing out that what we think of as “modern” problems (lgbtqa+ representation, for instance) are really things that have existed throughout history

and on that, I loved all of the new characters, especially Bash, Mary, and Ka’kwet. Also Diana’s lesbian aunt is Lifestyle Goals.

But there are also things I definitely didn’t like.

the acting... like I’m sure all the actors are very good, but the script I think doesn’t play to their strong points. There’s a lot of stiffness. The character I think who does the smoothest job no matter what is actually Bash. It’s worst with Gil. He can act, I think, he  seemed pretty good with body language, but I cringe when he talks. He only gets pure, wise things to say. He never sounds like a child. Everything he does is right. The same is true of Anne as well, and another thing that bothers me - as much as I appreciate her passion and sense of justice, I don’t like that it overrules her childishness so much of the time. But she’s the main character and has a lot more time to shine in many ways, while a lot of Gil’s storyline outside of Anne is new stuff not in the books, mainly not there to develop him.

three seasons of the show and very little of it seems to actually be from the pages of the books. They did the apple cordial scene, but there were so many others that Iooked forward to and they just didn’t bother with. Those scenes were the reason I loved Green Gables. I don’t mind that they changed characters etc so they could make room to include those so-called “modern” stories - like I said, that adds to its relevancy. But why cut out so much of what was good in the books?

because they skipped so much canon development, the rushed finale in season 3, presumably when they realized they were being canceled, has no tension or impact.

also because they skip so many good parts in the books, many episodes feel like a Hallmark TV show to me. Anne goes from quirky, clumsy, fiery, and interesting to the writers’ social issue megaphone. There’s got to be a way to Be Super Feminist or whatever without sucking all the life out of your main character. She’s not like that in *every* episode, but there are definitely those where you feel like you’re being hit on the head with a protest sign.

I hated them killing Mary, and I hated that they were setting up for Bash and Ms Stacy in season 4. I swear that’s what they were doing. I sensed it from the moment Mrs Lind says Bash has to find a new wife. The show was canceled, but already we’d had a sudden influx of significant scenes between Bash and Stacy that were nonexistent before Mary’s death, and these scenes were specifically themed around loss of loved ones, moving on, parenthood, and family. It was absolutely a set up. And given the incredible pace at which this show liked to tackle Social Issue after Social Issue, I have no doubt that “interracial marriage” was next on the list. Normally I wouldn’t care, except that it feels like Mary was killed in order to make room for this storyline! That’s my beef with it. I don’t think season 3 is all that well written, overall, to be honest.

But my biggest issue of all is with Ka’kwet. I remember reading about residential schools when I was a kid. They were horrifying. The show at least doesn’t mince how horrible it was. The introduction of Ka’kwet and her family was great. The inclusion of indigenous actors was great. The history is incredibly important. And then... we don’t even find out what happens to her. I read a bunch of people saying “That’s realistic! Those schools were terrible and letting her have a happy ending would have had white savior overtones and undermined how awful this was.” Perhaps if Anne with an E were a different kind of show, I’d agree. But everyone else got a satisfying conclusion. Even though Mary died, at least she found her happiness first, and her estranged son even comes back in the end to ask forgiveness at her grave and turn his life around. *Everyone* ends on a hopeful note, except the Mi’kmaq storyline, which ends with Ka’kwet imprisoned at school and separated from her desperate family. Even if you really believe the argument that “it’s realistic so it’s good,” the other issue is that that whole subplot was really short! It was suddenly introduced and had just got momentum when it fizzled out. I was SO confused in the final couple episodes because I could think about NOTHING but Ka’kwet and kept expecting news about her, one way or another, yet the show only wanted to talk about Anne & Gilbert, Diana and going to Queens, fricking Billy and Josie... Sorry, but it was a very, very bad look. I love Anne and Gil in the books, but when you put them up against the story of a 12 year old indigenous girl imprisoned by white people at a brainwashing school... I mean, how can you expect me to get all worked up over Anne’s note to Gil getting stuck under his boot when something much much larger is at stake?? Confusing. Exasperating. I am certain it’s this bad because of the cancellation, but I’m not super hot on the build up to it either.

Regarding Anne & Gil. I was confused through all three seasons about them. Their relationship did not remind me of what I remember from the books, but it’s possible I overlooked some things as a child, or just don’t remember it all. Anyway, I didn’t really care about their romance during the show. On the one hand, that’s good because it’d be a tragedy if Anne were spun into a romantic period chick flick. It’s not. But on the other, I can’t get excited about a character’s romantic journey if it’s underdeveloped. Not everyone may agree with me that it was underdeveloped, but I needed more - not even necessarily more romance, just more of what made Anne and Gil so magnetic to each other. I suppose it’s a moot point because in the books, it literally takes years before they even become close, and the show couldn’t wait that long. Plus they changed so many other things, why not this? That’s fine, but the why not spend more time of them too?

So... ultimately, I’m disappointed in this show. It’s not that it’s bad. It’s not. I enjoyed watching it, for the most part, though I had to struggle through some of the more Hallmark movie moments. It’s just not Anne. It had promise... it has some good scenes... but in changing so much, they lost a lot of what made the books magical. And a lot of the themes they took on appeared and then vanished, like Cole coming to terms with his sexuality and going to art school, and then only making cameos after that. (Though I highly appreciated that he went with Anne and comforted her when she returned to the orphanage.) It’s too bad. I don’t know how much other fans would agree with me - what I’ve seen online has mostly seemed positive. And it’s hard, because my overall opinion is a complicated “I feel positively towards this show but I’m also disappointed in it.”

But gotta be honest - I’d be much less disappointed if I hadn’t felt so let down with how Ka’kwet’s story disappeared. That I just can’t forgive.

[lovingtheroyals]

The Duke of Cambridge’s speech at The Royal Foundation Forum

Good morning everybody. Catherine, Harry and I are delighted to be here this morning. And we are particularly happy to be at our first Royal Foundation event with Meghan.

Today is a special day for us. Since 2011 when we established The Foundation, we have regularly brought people together under the banners of Coach Core, United for Wildlife, the Invictus Games, Heads Together, the Cyberbullying Taskforce, the Endeavour Fund, and Full Effect. What we have never done is bring all of our friends, partners, and supporters together as part of The Royal Foundation family.

Today we want to reflect on what we have built with all of you. Ten years ago Harry and I were still serving full-time in the military, but we were starting to look to the next stages of our lives. As we discussed together the best way to set out on our official work, we looked to the values our family had instilled in us.

Both our parents had provided for us an example of diligence, compassion and duty in all they did. Our grandparents, The Queen and The Duke of Edinburgh, had made support for charity central to their decades of service to the nation and the Commonwealth.

The task for us would not be to reinvent the wheel. Instead, our job was to follow the example of those who had come before us, hold on to the values that have always guided our family, but seek to engage in public life in a way that was updated and relevant for our generation.

We were aware that the modern charity sector was very different to the one that previous generations had worked alongside. The generosity of the British people, and the entrepreneurial and creative passion that is at the heart of our communities had seen the number of charities grow from a few thousand in the 1950s to around 180,000 today.

Social media was changing the way people engaged in issues, making it easier to campaign than ever before, and engaging young people in new and exciting ways. The diversity of our society was creating huge opportunities to get people from all walks of life involved in tackling important challenges. To provide the meaningful leadership and support to the sector that our parents and grandparents had, we would need to think about our roles in a different way.

We approached the answer to this question by establishing The Royal Foundation, our own foundation which would help us explore big issues that are close to our hearts.

When Catherine joined us after our wedding in 2011, we discussed that what made The Royal Family different to other institutions was its ability to focus on the long-term.  In an age when our pressures seem so urgent, our attention spans so short, our Foundation could look beyond the horizon.

We knew we had the chance to work with experts to not just raise awareness about issues, but do the much harder work of truly changing mind sets. We would not seek quick wins, but would strive to make a real and lasting difference. And we would seek to make that difference in areas that are traditionally considered difficult to make an impact in.

What we have learned is that, to make this difference, we have to be clear and disciplined about how we seek to provide leadership. What would make our Foundation unique would be its ability to make a difference by bringing people together. There are Foundations out there doing amazing work powered by endowments worth billions. But we believed we could help achieve big, positive, long-term changes by being the leading convening force in the charitable sector.

We would not try to do things on our own. We would build our Foundation with an open door. We would not rely just on our own ideas. We would invite the best and brightest to sit with us around the table. We would not celebrate individual successes, but would build teams and partnerships for collective victories.

And we would lead by example, by working across our generation as a family. We have been quiet in terms of talking about The Royal Foundation in the early years. We wanted to make sure we learned from our partners and supporters before we shouted too loudly about what we were doing.

Today though, I hope everyone in this room has reasons for pride and confidence about what we have achieved by working together. Coach Core has brought together sports clubs, councils, trainers, and apprentices to create a programme that spans 10 cities so far, and has led to 25,000 coaching sessions and hundreds of thousands of coaching interactions in the past year alone.

United for Wildlife has allowed our leading conservation charities to step up their work to save iconic species from extinction. We have taken their messages into the offices of Presidents and CEOs the world over and delivered on the ground support to those on the front lines of the fight against the Illegal Wildlife Trade.

The Invictus Games have been a remarkable convening success for The Foundation. The most recent games brought together the armed forces of 17 nations, dozens of military charities, hundreds of competitors, and thousands of supporters to forever change the way we viewed wounded, injured and sick servicemen and women.

With the help of eight leading charities, Heads Together has reached millions of people as we work to forever change the conversation on mental health. And with our partners and leading experts, we are now working to provide practical tools to support these conversations wherever they happen – online, at home, in the workplace, in the services, or in schools.

More recently, the Cyberbullying Taskforce brought together young people, academics, social media firms, and telecommunications companies to come up with an action plan for tackling a growing problem.      

These are just some of the examples of The Royal Foundation's work. They show that in just a few years, The Foundation has made a difference on a wide range of issues.

And while the issues may all be different, The Foundation's projects have shared important similarities. All of the projects have seen us working to change mind sets to make a real and lasting difference. They have all seen us trying to tackle the biggest challenges of the day. They have all seen The Foundation listening and taking advice from charities and experts, rather than showing up and pretending we have all the answers. And they have all seen us uniting people, forming teams and coalitions, to work to make a difference together.

When we work together, we are greater than the sum of our parts. When we work together, we bring unlimited creativity, passion, and expertise to the table. When we work together, we can achieve incredible things. We hugely value working together with all of you.

Today we want to celebrate this spirit of togetherness. We want to reflect on what we've achieved. And we want you to work with us as we consider what we might do next.

Thank you for your support.

[techcrunchappcom]

New Post has been published on https://techcrunchapp.com/the-role-healthtech-should-play-in-tackling-the-covid-19-backlog-med-tech-innovation/

The role healthtech should play in tackling the COVID-19 backlog - Med-Tech Innovation

Mandeer Kataria, Health Tech Alliance, writes about how healthtech can be used to help tackle the patient backlog that has been caused by COVID-19.

The response to the COVID-19 crisis has provided a glimpse into a plausible vision for innovation and transformation within the health service, by way of speedier adoption of health tech solutions. Notable examples across primary, secondary and community care include the introduction of GP Connect to all practices to enable secure sharing of patient records across primary care; the use of AI to predict critical care capacity, equipment and staffing; and the widespread carrying out of remote GP consultations. Remote monitoring is now crucial for providing care for vulnerable patients who have been shielding or those who simply do not feel comfortable in visiting a hospital. With regards to an overstretched workforce, healthtech can provide remote education opportunities to upskill professionals. It can also alleviate pressures by allowing staff to work remotely and by assisting with administrative tasks, freeing up time to focus on caring for patients.

The momentum for change through the uptake of technology must be sustained as we adjust to the ‘new normal’, whereby the NHS adapts to living with the virus for what will likely be an indeterminate stretch, with new norms prevailing in order to control the spread of the virus, namely social distancing and enhanced hygiene regimes. Technological solutions could prove indispensable in helping the NHS and general public adhere to newly imposed measures.

The virus persists against a backdrop of pre-existing, entrenched problems within the healthcare system, specifically mounting waiting lists and the build-up of demand. Waiting lists were reaching record levels in 2019, with the HSJ reporting the proportion of patients waiting less than 18 weeks for treatment as being at its lowest level in a decade. Additionally, cancer waiting times were the worst recorded, with 73% of trusts failing to meet the 62-day cancer target. The wait for diagnostic tests was at its highest level in over a decade, with 4.2% of patients waiting over six weeks, against a desired target of under 1%.

The fallout from COVID-19 has exposed and exacerbated existing issues in the NHS. According to analysis by the British Medical Association (BMA), between April and June 2020, there were up to 1.5 million fewer elective admissions than usual, up to 286,000 fewer urgent cancer referrals and up to 15,000 fewer patients commencing their first cancer treatments after an urgent GP referral. Figures from Cancer Research UK show that approximately 2.3 million fewer cancer tests have taken place since lockdown compared with the same period last year. The BMA assert that the “drastic extent” to which the NHS had to shut down routine care is a result of more than a decade of underinvestment and cuts to essential services. To add to the pressures on waiting lists, further novel requirements generated by COVID – in the form of infection control measures – could precipitate a productivity decline without the support of external forces. These include the need to keep vulnerable patients out of hospitals; enhanced PPE requirements; and significant extra time for cleaning routines.

How has technology been successfully employed thus far to support the system?

Technological solutions abound, but crucially, we need to understand what adaptations the NHS can achieve in a climate of resource-constraints, and what will have the potential to ease the burden on the system during the anticipated resurge of the virus in the coming winter months. A recent noteworthy example is the rollout of predictive technology to help NHS teams forecast COVID hospitalisations. Developed by the AI firm Faculty, the new technology will allow local teams to balance priorities by helping clinicians and scientists to model hospitalisations up to three weeks ahead.

A further case worth mentioning is the use of ‘virtual wards’ to discharge patients from hospital. Here patients are monitored at home with devices or technology through which consultants provide care. They may receive ‘virtual visits’ from varying members of the ward team, including nurses, therapists and pharmacists, thus minimising hospital stay for potentially vulnerable patients, and freeing up capacity in hospitals.

Given the eye-watering predictions set out by the Academy of Medical Sciences of hospital deaths in a worst-case scenario of a winter resurgence, technologies such as this could spell untold benefits for the system. Particularly when considering recent warnings from the senior figures within the Royal College of Surgeons and the BMA that the NHS must “never again” act as a COVID-only service. The health system must heed these warnings as we head into an uncertain winter and utilise the tools at our disposal to aid the provision of normal care.

On 31st July, NHS England and Improvement wrote to all NHS trusts and foundation trusts to set out the third phase of the NHS response, effective from 1 August. The third phase set out a desire to accelerate the return to near-normal levels of non-COVID health services. This included ambitious targets to restore elective capacity in September to 80% of last year’s activity and in November, to 90%. The third phase letter also spoke of ‘locking in’ beneficial changes seen through the pandemic response.

With worst-case scenario warnings that waiting lists could rise to 10 million by December, health tech undeniably has a role to play in not only alleviating waiting lists but also in creating more joined up care between currently fragmented primary and secondary care services, reducing hospital stays or removing the need for individuals to visit hospitals at all, through remote monitoring solutions. It is imperative therefore that during these unprecedented times, the debate on the role of healthtech can play in tackling these unprecedented challenges is front and centre.

Even healthtech that is only deemed to deliver incremental changes to the build-up of demand could deliver huge benefits. Of course, the change to the manner in which it is being adopted relies upon the provision of adequate investment, along with the means to incentivise adoption and efforts to remove bureaucracy which stifles adoption. It will also require trusts to think beyond unit cost, especially as some healthtech products deliver a return on investment beyond their first year of uptake. Indeed, one of the key learnings from the COVID-19 pandemic is that a focus on unit price over patient outcomes can lead to unintended consequences. Much like the move towards Integrated Care Systems, there ought to be an integrated approach, with the Department of Health and Social Care and NHS England working hand-in-hand with Clinical Commissioning Groups, Trusts and all relevant parts of the wider health system, including industry, to harness the benefits of healthtech.

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[kihyunswrath]

“Unsuccessful” girl idols

I’ve been wanting to break this topic down for years and I feel like I’m still not quite done with my own thought process, but I thought right now could be a good time to at least slightly graze the theme (ok that phrasing sounded awful but you get the idea?? I guess?), what with so many kpop girl groups disbanding and, Idk there’s been a lot of talk about this over the years but no one seems interested enough to search the roots of it.

So here are the two main premises people keep kinda copy-pasting all the time all over the internet: 1) “Girl groups just bore/annoy me to death and they all just twerk their tiny asses in high heels and they are so unoriginal” and 2) “Boy groups do just as sexy stuff as them so stfu, it’s such a hypocritical sexist thing to not support the girl groups too, you only drool after your oppars and forgive all their misbehavior because you hate women”.

And honestly that’s where the discussion mostly ends. I haven’t heard or seen anyone talk much more about the topic even though I feel like that’s just about 0.5% of the whole discourse that should be brought to daylight. This whole phenomenon is strongly linked to Korean popular culture and how Korean music companies treats their employees and how they, as a moneymaking Korean-made industry, wants to be represented in front of the foreign audience... and it should be pretty clear how important it is to understand the details and the whole picture of this big system, if you really want to tackle down issues such as sexism and misogyny in it.

Idk but it feels so weird to me how few fans have actually realized how sexist kpop music industry is by nature, by the very definition, and how it has its roots deep in Korean conservative political ideology, heck, even Confucianism itself. And like... if you call yourself a feminist or anywhere close that term, you should be actively resisting pretty much everything both kpop and kdramas has to offer. 

Kpop is capitalist and conservationist as hell, and that’s p much my main statement here. 

The point in these idol groups is to market and rebrand South Korea as a fresh, young, talented, clean, nicely organized, sexy, vibrant and colourful country fully capable of taking the global trade into its own hands. It sells the capitalist ideology where wealthy, beautiful and racially/economically/socially/religiously homogeneous people work together to create welfare. Intl fans typically only see the surface of it, aka the music videos and the dramas themselves, but the fact is that all idols do much more than that - they’re the ambassadors of their own country, selling products after products with their own names and faces printed on them. Cars, phones, cosmetics, plastic surgery, laptops, games, toys, food, beverages, you name it. And of course they sell their own products, too. 

They’re not there to challenge any status quos, to break down any hegemonies. Korean men wearing makeup and showing their flawless skin may seem “radical” to western people who are used to cavemen-like masculinity ideals at first glance, but silky, pale skin has always been just a sign of wealth, health and cleanliness in Korea (and many other Asian country), and there’s nothing more groundbreaking in that. Korean same-sex friends showing skinship has never had anything to do with gay culture and Korean groups being aware of this eroticization of their friendships still has nothing to do with gay culture. It’s just a clever marketing tactic that stems from the problematic fact that fans (mostly straight people idolizing someone from opposite sex) rather see their favourite idols with their same-sex bandmember than live in acceptance with the fact that their crushes would end up with someone else than the fans themselves. That feels less like a “betrayal” to you if they end up being gay and having a relationship with the bandmember you most likely also admire, than choosing someone random you can have no control over. And yes, as a sidenote, these groups and their companies are fully aware of skinship and mildly homosexual (but still not quite) content being a factor that creates them more fans and more money. For the same reason, since day one Korean culture has divided performance and entertainment groups by their sex - women and men have always performed separately, throughout history, because it’s presumably easier to avoid actual romantic relationships that way. Homoerotic stuff kinda doesn’t count, at least not officially. Also, kpop groups are strictly divided because the industry really treats them as separate entities, separate ranks, much like a sex binary itself. 

So, Korean ideals and standards are literally ingrained into Korean popular culture. They’re not any less sexist than any other capitalist industry you have ever met before. In fact, they’re blatantly much more sexist than many others, just because it sells in so many audiences who consume this kind of stuff. Did you know, that there was a research done in the countries that consume kpop and kdrama the most (many of them are East-Asian, Middle-Eastern, South-Asian and African countries, like India, Iran etc.), and a common reason for them to stay as fans was basically because “kdramas uphold the traditional familial values, just with fashionable rebranding - like men are treating women so nicely and still were so hot and masculine”? So if you think Korean idol groups should be treated more equally among the fans, you’re asking for something that was never even supposed to be there.

Let’s face it: kpop girl groups are given half-assed songs, half-assed choreographies, half-assed concepts, half-assed attention and effort, and neither the fans nor the girl group members themselves are to be blamed. And if not everything they do is half-assed, about 60% is. Compared to the about 40-50% of boy groups’ half-assed stuff, because we all know kpop is also based on unoriginal mass-copying of the same stuff. Mass production, repetition and weak-willed composing is not only part of the capitalist ideology, but also the way to Korean soft power to work their way through; because of the Confucian tradition, you’re not supposed to present new ideas but just follow what your employers tell you to do. 

So girl groups are given shitty and weak concepts with either overtly cute and infantilizing clothing and choreographies, or overtly sexy stuff. Why? Because they’re treated as objects and children. They’re supposed to stand cutely in front of you, letting you have a peek on their long, smooth legs while they wear the smallest mini-skirts ever seen.

They’re sex objects for pedophiles. Just look at Production 101 Pick me up song and see 101 girls wearing school uniforms while they, without real identities or visible personalities, dance sexily to the audience. They did have the same concept with boys, one year later, which was maybe the first time ever such objectification was also projected on males, but those boys at least didn’t let anyone have see what was under their skirts.

Girl group choreographies look bland to many fans because they’re not supposed to show great talent or skill (even though all these beautiful, hardworking women could slay us with all their personal talents) - they’re just supposed to look pretty and do cutesy movements in front of the cameras. It took me a long time to realize why there was such a huge difference in difficulty when you compared boy group choreographies to girl group choreographies. It wasn’t just my imagination and it wasn’t just because me, as a straight person grown up under patriarchal society, was more inclined to recognize men’s talent and ignore everything women did. They do assume I do just that, though. They do assume male and female gaze are different, and that makes them believe boy groups not only are able, but have to perform more difficult things. Girls can focus on singing and shaking their butts - that’s the stereotype. Girls “can’t” do the same stuff, because they’re “weaker” and “less talented in general”, but they can show their butt more, because oh don’t the male fans just love it. Girls are of course also given backlash because of that, but in the end it doesn’t really matter, because sex, porn, eroticism and traditionally feminine assets sell. With all of their connotations of feminine weakness, fragility (skinny bodies) and submissiveness.

Yes, I do acknowledge that in kpop, male bodies are also very much objectified, and I do know that some girl groups are also sharing their stances on female empowerment, and even feminism. 

But when these boy groups are already in position of power, their actions are deemed worthy nonetheless. Girl groups, on the other hand, not only face the sexist double standard, also have to fight with the fact that they are not given as much space, opportunities, attention and, what’s relevant in this topic, effort as the boy groups. 

So when some fans complain about girl groups, they might mean that they in general have internalized the misogyny and don’t want to acknowledge anything these talented, hard-working female idols have done. But they might, perhaps unknowingly, also protest and dislike the idea where these girls are deemed less worthy, are flattened to mere sex objects spreading their legs in front of the cameras, doing it much more often and in much more concepts/music videos than boy groups altogether. Because it’s true. 

And that’s not because these girls haven’t worked just as hard as any other boy idol. But it’s because they are not given the chance to show their real capabilities, their real competence, their actual wide variety of skills.

So yes, so many of the girl group music videos I watch only remind me of how cheaply Korean music industry treats these wonderful women. Watching them is not pleasurable, because it also reminds me of how tight are the standards I should be able to fit into to please this so-called male gaze. It reminds me of my own oppression as a woman.  

___

Ok so that was all for today, maybe I’ll talk about it more someday. I don’t feel like checking this for typos and other pathetic non-English speaker mistakes but I hope the main point gets through.

[vileart]

Fragile Dramaturgy: David Martin @ Edfringe 2017

New playwright tackles the fragility of being human at this year’s Edinburgh Festival Fringe.

  Softsod Productions presents…

Fragile Man

It’s not an event, it’s a process.

The Space on the Mile (Venue 39); 10th-26th August; 11.50am (50 mins).

  Playwright David Martin is making his Edinburgh Festival Fringe debut with a newly written two-hander dealing with the fragility of being human in the modern world. 

What was the inspiration for this performance?

The play’s topical inspiration was initially drawn from the dramatic and shocking rise in Western male suicide rates, highlighting the stress and isolation of 21st century living. There are still strong elements of this inspiration in the play but we undertook a series of improvised workshops and the play is now focused more broadly, on the difficulties we face in 'becoming ourselves’ and the mental and emotional struggle we face to know who we truly are, both men and women. 

The play's themes delve deeply into our shared experience of being human and take a new perspective on our freedom to choose, faith, guilt, self-preservation and the dawning reality of our own fragile existence. So what started as an exploration of the hidden depths of male identity has become a darkly mysterious, sometimes comedic and often moving journey of human self-discovery. 

It’s a play with strong overtones of what it is to suffer poor mental health, and how our own defence mechanisms, particularly repression, can often be as damaging as they are protective.

Is performance still a good space for the public discussion of ideas? 

It’s the perfect way to raise awareness of topical issues, to spark debate and to present and challenge ideas, beliefs, norms, expectations and behaviours held firmly by society. 

Fragile Man for example pushes boundaries on what it is to suffer mental health problems in silence and to ask the questions “what would we do in this situation?” “how am I different in reality to people who suffer self-doubt, anxiety and repression which lead to ‘mental health’ issues?’  “is mental health something that is ‘out there’ (not my problem), or ‘in here’ - a key part of all of us” and finally “if I suffered uncontrollable loss, abuse, anxiety or internal conflict, how would this affect me and those around me?” 

We believe that Fragile Man is an expose of what it is to be human and how we are all affected by stress and demands and usually by loss. If this is the case, surely we all suffer ‘poor mental health’ from time to time and can admit it? So why do we medicalise, patronise and exile those who suffer mental poor health?”. 

Presenting these themes through the ‘acceptable’ medium of performance brings topics otherwise pushed to our outer-consciousness into the realms of our own reality. We simply can not ignore the messages. 

I have written Fragile Man from first hand experience, having suffered poor mental health myself and having worked for many years in mental health services. I have seen the devastating affects of poor mental health on people’s lives and know the importance of raising its profile.

How did you become interested in making performance?

I was so inspired by visits to the Edinburgh Festival Fringe in 2015 and 2016, that I formed Softsod Productions specifically to create a drama for the Fringe that would stand out from the crowd. So in writing the play I have always been focused on creating 50 minutes of dynamic ‘Fringe’ drama.  

And we truly believe in Fragile Man we’ve been able to achieve that in the writing, directing, production and performance. It even has its own originally scripted musical score to add to its unique and edgy feel. 

The play opens on an isolated hilltop with high drama that is both uncomfortable and riveting as we witness a chance encounter between two men which is destined to change their lives forever. 

Having watched it, people have described it as an unsettling and insightful drama exposing two men's fight for truth, justice and survival, as well as a unique, well-crafted, edgy and evocative. Audiences can expect themes of mental health, psychological disturbance, guilt, abandonment and projection. 

Less noted, but just as present throughout the play is the importance of your name and of belonging, the evanescence of love and the conflict of the very human need for both presence and isolation. The hilltop setting for Fragile Man is perfect for the dramatic opening and has allowed us to introduce plenty of metaphorical references; such as being on the edge, staring into the abyss, the fading of the light and the setting of the sun. 

However, the ‘real’ story is told through a series of flashbacks which take the men (and the many characters they portray) off the hillside and into a number of other locations in time and place. This shifting between the flashbacks and the hillside creates a real dynamic, with an accompanying, original soundscape, which helps transport the audience and projects the story forward with great pace and poignancy.

Is there any particular approach to the making of the show?

Having been inspired by how many men are turning to suicide to resolve deep emotional issues we took the play on its own journey through improved workshops. We wanted the play to be direct yet mysterious, revealing and yet shadowy and inspiring and yet confrontational. 

Now it’s written, rehearsed and ready to go, we’re really proud to announce that our show is entered for the Fringe First Award and eligible for the new Mental Health Fringe Award. given the themes in Fragile Man are centred around suicide, self harm and repression - aiming to help raise mental health awareness. 

Does the show fit with your usual productions?

The is our first Softsod Production, but yes, its focus will continue to be on ‘the human condition’ making plays that are edgy, challenging and always resonating with the deep psychology and complexity of our inner world. I have a degree in Psychology, practised as a Social Worker for many years and went on to be a counselling and psychotherapy practitioner, As a result I am fascinated at how the unconscious, upbringing and socialisation affect us in ways that are often barely perceptible. 

I am keen to use our writing and performance to focus on this ‘hidden vulnerability’ within all of us whilst also ensuring the drama is also always entertaining, humorous but challenging.

What do you hope that the audience will experience?

After performing Fragile Man for the first time to a live, paying audience (our Preview Performance) at the Bath Fringe Festival at a marvellous Fringe-friendly theatre the Rondo Theatre, we are fairly certain now what the audience will experience and take away. 

We gave the Bath Fringe audience members feedback forms to fill in which asked some very pointed questions aimed at generating constructive criticism to help us shape any parts of the show that people felt it needed. 

So when we received comment after comment about how much they had enjoyed the show, ‘got’ the show, felt it was real, moving, inspiring and relevant, Jacqs (the Director), Richard (my fellow ‘creative’ and actor) and I were taken off guard somewhat. I’m going to admit that I welled up at one stage where an audience member I didn’t know spoke in such glowing terms I didn’t know where to look or what to say to her. 

So it’s given us a renewed confidence that the play is Fringe-ready and destined to generate a fabulous response in Edinburgh. Fragile Man is designed to take people on a very personal emotional journey and we’re confident people are going to experience it as much as watch it. From the feedback, my favourite comment was “deep issues, beautifully communicated”. We all came out of the evening glowing.

After watching Fragile Man we anticipate many entertaining evenings sat with friends, a glass of wine and some bar snacks, whilst trying to unpack the hidden depths of the play and piece together all of its messages, some clear, some barely-visible, some light, some refreshing and some deeply disturbing.

What strategies did you consider towards shaping this audience experience?

The key strategy was to write a play that had strength and depth in its writing and in getting the audience to go on the Fragile Man (person) experience with us. 

The play was developed and refined through Workshops and in live rehearsals. Undoubtedly the greatest challenge has been in getting the scripting of the play to the quality we wanted in the timescales we’ve had. 

Deciding to do a Preview at Bath Fringe at the end of May was both the best and worst decision. It put us all under enormous pressure to get the production ready for such an early date and we often doubted we would be ready. But it also gave us a target to aim for and in achieving it, this has taken a lot of pressure off us when bringing the production to Edinburgh. 

During the early days the workshops had generated a huge amount of material and deciding what to leave out was a real test. For example, the play has had 4 different endings since January, each with a lot of merit, so again it was hard to let the early ones go in search of the one with just the right impact and ability to both surprise and delight. 

I think a lot of writers struggle with this aspect - in getting attached to a particular plot line which is good, but not good enough and struggling to let it go in search of  'the one'. But I was encouraged by writer friends and family to be brave and to trust my instincts. And in doing so we’ve got a story and an ending that we're extremely happy with and is hopefully anything other than what the audience will be expecting. 

Their experience will be, we believe, one of a lasting impact of Fragile Man, one to ‘keep’ from their Edinburgh experience.

Fragile Man is an unsettling and insightful debut drama exposing two men's mental and emotional struggle to know their true selves. On an isolated hilltop they must face their darkest secrets and deepest fears in a chance encounter destined to change their lives forever. 

A battle for truth, justice and ultimately their own survival.

The play’s topical inspiration was initially drawn from the dramatic and shocking rise in Western male suicide rates, highlighting the stress and isolation of 21st century living. 

Further developed through improvised workshops, Fragile Man has grown into an originally scripted drama which delves deeply into our shared experience of being human and takes a new perspective on our freedom to choose, faith, guilt, self-preservation and the dawning reality of our own fragile existence.

On making its Fringe debut, Fragile Man’s writer, David Martin says…

”what started as an exploration of the hidden depths of male identity has become a darkly mysterious, sometimes comedic and often moving journey of self-discovery, which is relevant, thought-provoking and designed to resonate loudly with its audience.” 

Inspired by visits to the Edinburgh Festival Fringe in 2015 and 2016, David formed Softsod Productions specifically to create a drama for the Fringe that would stand out from the crowd. 

He continues … “in the hands of our outstanding Director Jacqs Graham and alongside fellow creative and actor Richard Miltiadis, we truly believe Fragile Man captures the very essence of the Fringe, in this unique, well-crafted, edgy and evocative piece of theatre.”

Genre: New Writing; Drama

Original script and original musical score: David Martin

Cast & Crew

Director: Jacqs Graham

Producer: David Martin

Cast: David Martin and Richard Miltiadis

Sound and Lighting: Neil Bonnett

Photography and Arts: Sammy Pea

Basic Listing Information

Company: Softsod Productions

Show: FRAGILE MAN

Venue: The Space on the Mile (39), Theatre 2, Radisson Hotel, Royal Mile, EH1 1TH

Dates: 10th - 26th August (11.50am - 12.40pm)

Tickets: boxoffice.onthemile@thespaceuk.com, Tel: 01315102382 or www.edfringe.com Tel: 01312260000 - £10 (£8 concessions)

from the vileblog http://ift.tt/2uNgrY0

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Counterfeit consciousness and Why I Think Turing wasn't right

What is Counterfeit consciousness? Consider this extract from Tom Holt's novel "Practically Human": "The robot delayed, while the Interest Court of its brain contemplated the subtleties of the Laws of Mechanical technology. In the end they passed on a choice expressing that the abrogating law which supervened all others was that no robot should state anything, regardless of how genuine, that will unavoidably win it a smack in the mouth with a 5/8" Whitworth spanner. "Beyond any doubt thing, manager." it said" Is "computerized reasoning" at that point the time when a machine's capacity to think can supersede programming, or is it the lesser trial of applying insignificant principles/programming to give answers to an assortment of issues? Best case scenario endeavors to make counterfeit consciousness have delivered minimal more than the astonishing, human-like capacity of a PC program to comprehend that the letter Y signifies "yes" and the letter N signifies "no". This may seen somewhat realistic however this is unexpectedly not a long way from reality of the circumstance. In the event that we do without any assumptions with regards to the semantics connected to "knowledge" as for a mechanical shape as paired to a human, it ends up noticeably clear this is nothing much the same as utilizing "flying" to portray the two winged animals (natural) and airplane (innovative) types of heaver than air flight. The field of concentrate into the likelihood of computerized reasoning essentially expect that it is conceivable to integrate something that fulfills the conditions for "insight", not every person acknowledges the present assumptions made about human consideration and deductive framework which now and again are criticized by faultfinders whom contend on an assortment of grounds that manmade brainpower is destined to disappointment. A decent case of such a rationality is known as Tesler's law, which characterizes counterfeit consciousness as "that which machines can't do" which infers that any plausibility of a manmade brainpower is unthinkable and that ideas and traits, for example, instinct are capacities that are one of a kind to human. Now I might want to draw the refinement between computerized reasoning as surmised in the theoretical techniques in light of cross examination in the Turing test, which in actuality is only a trial of the frameworks capacity to impersonate human-scale execution, through programming, and accordingly is a recreation of the coveted impact from one viewpoint, and a framework's scholarly ability to learn, oversee, and control common dialect or show unrestrained choice; etcetera on the other. For instance utilizing the Turing test as a model, if a PC displayed the capacity to take choice that if made by a human would show the utilization of instinct, the framework would go because of the way that it isn't a trial of human-scale execution, yet is just trying its capacity to respond to a procedure of unadulterated boost reaction answers to enter (not activity voluntarily). The investigation of manmade brainpower, is a sub-field of software engineering principally worried about the objective of presenting human-scale execution that is absolutely unclear from a human's ideas of emblematic induction (the deduction of new certainties from well established actualities) and representative learning portrayal for use in acquainting the capacity with make surmisings into programmable frameworks. A case of derivation is, given that all men are mortal and that Socrates is a man, it is a unimportant advance to induce that Socrates is mortal. People can express these ideas emblematically as this is an essential piece of human thinking; in this way manmade brainpower can be viewed as an endeavor to display parts of human idea and this is the fundamental way to deal with counterfeit consciousness inquire about. On the off chance that for contention we were to expect that 'canny' procedures are reducible to a computational arrangement of paired portrayal, at that point the general accord among counterfeit consciousness specialists that there is nothing central about PCs that could conceivably keep them from in the end carrying on so as to reenact human thinking is consistent. However this fundamentally accept pragmatic regular thinking isn't the ideal type of human consideration and deductive, scientific, and legitimate thinking is all that is required to be 'smart'. On the off chance that anyway we accept for contention that insight isn't a totally unrelated substance, and is preferably the merging of attributes other than consistent finding or scientific thinking, for example, enthusiastic qualities that together assume an aggregate part in thought, basic leadership and imagination, at that point the best piece of human knowledge isn't computational, and thusly it isn't exact and the advancement of manmade brainpower based the present model of unadulterated paired rationale would conceivably bring about just exact types of human idea being recreated. A lot of research has been done on induction instruments and neural or nerve systems which has incidentally been of more use in finding out about human knowledge through the way toward mimicking insight in the machine, rather that the a different way. Such research has however created a vulnerability about our own points of view. Such ideas require that we illuminate various fascinating abnormalities, the most major of which is that we have no satisfactory speculations to clarify the nature or beginnings of wonders, for example, the psyche, of awareness, nor of knowledge This would require comprehension of the connection between the quintessence being and the mind where at introduce we basically have no genuine hypotheses. For the present, despite the fact that PCs can settle effortlessly the most troublesome numerical issues, there are right now numerous issues that people tackle instinctually which are unresolvable misleadingly, where cutting-edge heuristic tenets and theoretical systems have crumpled because of the measure of relevant data and good judgment information they appear to require, for example, regular dialect handling, or even "What garments might I wear?". It is the level of shared understandings required in our most irrelevant types of social cooperation which essentially require that people expect confused shared learning that is excessively intricate for even the must refined types of computerized reasoning as considered to date, in which recommendations are either valid or false and premises must take after deductively. We have to give PCs the capacity to process uncertain ideas, for example, high, low, hot, warm, or exceptionally close, by substituting exact administer like coherently deductive structures of learning and numerical measures for an estimation. At any rate keeping in mind the end goal to program machines to recreate human mental procedures, one needs to comprehend and illuminate, how these procedures work, along these lines our endeavors to repeat those procedures that will generate machines fit for doing any work that a man can do, can just truly begin when we comprehend the procedures themselves. The inquiries remain, "how might you make knowledge when there is no definition for what it is?" and "How might you know you had done it?" Looked with such inquiries that adequately refutes manmade brainpower as a science because of it's so far unprovable suppositions, the fie Turing Test was concocted. However this appears to demonstrate that machines can just turn out to be more smart as they turn out to be better ready to reenact a solitary human's thinking capacity. It might be we ought to set our sights bring down - and endeavoring to decide the least complex type of creature or creepy crawly life which exhibits knowledge, and working up from that point. The unimportant procedure of distinguishing what is wise, however primitive, will help set the parameters for what we are attempting to accomplish. Fore case. Is the capacity to hold a discussion a genuine trial of insight, or simply of human knowledge - a conceivably unimportant side issue? This has been the truth of the Turing Test since 1950, yet has it lead us down an obscured back street? Consider a speculative race of outsiders who convey by additional tactile discernment, the reality they have no requirement for discourse won't make them less keen, most likely more so on the grounds that less of their mind will be spent in inefficient procedures. We can take this further, and express that mankind needs discourse to give its generally disorderly points of view some request, and subsequently knowledge, while a PC's more consistent structure hinders that need, as a machine insight is by nature computational, and exact and we ought to focus on what we need that AI to accomplish alone merits, not limit it to copying our own insufficient attributes, yet rather an approach that isn't a consequence of shrewd programming, however where the AI can start its own particular activities, not simply responses, and can supersede, not simply modify, its programming. Unreasonably, a specialist framework called the CYC task may practically by chance convey the nearest estimation to human reason, that has yet been conceived, by its acknowledgment of the parallels between the web and the dispersed associations inside the human cerebrum. Since the learning put away on the web is so assorted, and the result of such huge numbers of various levels of human knowledge and experience, we may have in reality as of now accomplished the most troublesome part. All we require now is the machine's capacity to compose, access, and process that 'awareness', with the goal that the appropriate response it provides for any issue is dependably logically applicable, and we have come near our Counterfeit consciousness. Right now it appears that the improvement will stay stalemated until the point that solitary machines have at introduce undreamed of computational and memory traits. Despite this is a cheat, on the grounds that right off the bat all in all, people themselves need to figure out how to think more like the master machine, instead of the inverse; And all things considered, it is the proceeding, obviously superfluous, contribution by people over the world which will keep this pertinent, yet that is next to no not the same as the continuous flow we have all accomplished since birth which illuminates our own day by day basic leadership. What is then left is the subject of inventiveness - the capacity to act, not simply respond, the capacity to start, not simply take after requests, the capacity to self enhance and, taking us back to where we began, the capacity to lie where conditions direct that the fact of the matter isn't sufficient. © trephelix