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Highlight reel of activities surrounding the 1977 Little 500 bicycle race. Activities include Big Red Exposure, I.U. Sing, Style Show, Variety Show (featuring Bob Hope), Regatta, Tennis Tournament, Golf Tournament, Cream and Crimson game (football), Mini 500 (women's tricycle race) qualifiers and race, and Little 500 qualifiers and race.
Highlights the potential lab hazards and effective safety precautions based on information from OSHA. Discusses handling flammable liquids, proper waste disposal, electrical safety and training of emergency equipment such as fire extinguishers, eye wash stations and safety showers.
Black and white home movie of Eddie as he is learning to walk. Shows him crawling and slowly scooting up and down the stairs. He then joins his parents on the floor and plays with his toys.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Discussion by David Broder and a panel of others on the factors affecting the 1980 election, as well as prospects for the new administration.
At the 33rd Annual Business Conference John Mee interviews the following alumni of the IU School of Business about their time at Indiana University and their careers after graduation.
Nickolas J. Sarpa ; Moseley, Hallgarten, Estabook, Wedden, Inc.
William D. Wells ; President, IU Alumni Association
Have you ever wondered what exactly is happening in your body when you get triggered? Why do we go into rage, or feel like leaving, or completely shut down? Have you ever experienced conflict and thought something like “If only my body could just CALM DOWN then I might be able to actually resolve this?” - Or have you experienced that moment of getting nowhere in a conversation with your partner because they are triggered?
There’s a reason that we keep coming back to this issue of safety and being triggered - that’s because both your ability to feel safe in the container of your relationship, and your ability to restore safety when, inevitably, you aren’t feeling it is at the heart of your being able to do relationship well - especially once the “honeymoon” stage of your relationship is over. Creating safety with your partner is at the heart of the work of people like John Gottman, Sue Johnson, Harville Hendrix and Helen LaKelly Hunt, and Stan Tatkin - and creating safety within yourself is at the heart of the work of Peter Levine, Dick Schwartz, and Margaret Paul. In other words, we’re diving deep because this understanding is KEY to helping you in almost every aspect of your relationship with others and your relationship with yourself.
Today’s guest is Dr. Steve Porges, creator of The Polyvagal Theory, and a distinguished university scientist at the Kinsey Institute and a Research Professor in the Department of Psychiatry at the University of North Carolina. For more than 40 years Steve has been working on this theory of how our vagus nerve works and his work has completely transformed our understanding of how we respond to obstacles, adversity, stress, and trauma. How the very same nerve pathways that support our health can also be recruited for defense, and create health problems. If you’ve heard of “fight/flight and FREEZE” - that’s all based on his work - and you have some idea of what I’m talking about. In today’s episode, we’re going to not only get a better understanding of how and why the body does what it does, but also get even more clear on how to come back into balance so that you can be in a state of healthy responsiveness, playfulness, and curiosity - not triggered and just trying to deal.
Developing a neurophysiological understanding of our defense systems. A basic understanding of our autonomic nervous system provides insight into why we react the way we do in conflict and crisis, while also laying the framework for what we can do to help bring ourselves back into a physiological state in which we are available for connection, love, and intimacy. To begin, it is helpful to know that as humans we have developed (through our evolutionary history) two different major autonomic defense circuits:
Sympathetic nervous system: The mobilization defense system is dependent on the activation of our sympathetic nervous system which is responsible the fight or flight response we know so well.
The immobilization response- Our most ancient (meaning we share it with virtually every other vertebrate that has evolved) defense system is that of immobilization and shut down in the face of fear. This physiological state is regulated by the vagus and includes reduced oxygen demands, reduced metabolic demands, and can include dissociation, passing out, and defecation. Immobilizing in the face of fear is an adaptive behavior that allows us to disappear. Those who have experienced, or work with others who have experienced trauma, know this state well.
There is no conscious input in how these systems activate- the concept of consciousness in this context can be very damaging because it suggests a degree of volition that can lead people who experience major trauma like rape, threat, or force, to feel ashamed of how their bodies reacted. Unfortunately our culture sometimes asks questions like “why didn’t you fight?”, or, “why didn’t you leave?” These questions do not respect the implicit and reflexive activity of the body to defend itself by freezing - based on these inherited circuits.
Neuroception- Neuroception the term that Steve Porges created to describe how our body can sense something and react to it without it necessarily entering our conscious awareness. Our nervous system makes decisions and changes our biobehavior without any level of conscious awareness- despite the fact that we are profoundly aware of the impact on our physiology we are rarely aware of the triggers causing these state shifts. If our body detects risk or danger features in the environment we might have a sympathetic excitation (sweat, jumping out of our skin, etc)- we might not be aware of the cues, but our body is informing us!
What is the vagus nerve? The vagus nerve (a major component of our parasympathetic nervous system) is a large nerve in our body that originates in our brain stem and goes to nearly every organ in our body. If you are interested in the mind-body connection, then you are interested in the vagus nerve. Amazingly, 80% of the fibers of the vagus are used to bring information from the organs to the brainstem, the other 20% is for information being sent from brain to the body. This means that our organs really carry the majority of our bodily information. The vagus has two branches- an older branch that can be recruited for defense as it goes to the organs below the diaphragm and elicits immobilization behaviors, and another newer more evolved branch that, when functioning, keeps “fight/flight/freeze” in check, and supports our health, growth, and restoration! It is the part of our autonomic nervous system that is responsible for allowing us to connect, self-soothe, be playful, and be in relationship. This newer vagal circuit is linked to the features of the face (ears, eyes, mouth), enabling us to express our bodily state in our facial expression, in our voice, and to detect the intonation of other people's voices to screen for safety. This newer system has myelinated nerves which respond to voice intonation, smiling faces, playfulness, social referencing, and reciprocity.
Hierarchy of defense systems: We use our three phylogenetically evolved systems of regulation in a hierarchical pattern. In an effort to create safety, we first use our most newly developed system (the myelinated vagus) to connect, when this fails we go into sympathetic mobilization (fight or flight), and if this fails we head into our most ancient defense system of parasympathetic immobilization. Our entire autonomic nervous system (ANS) is built to support health, growth, and restoration. The key way that we ensure that we are using our ANS in this way is through the vagal brake. Our newer myelinated vagus has the potential to inhibit the defensive structures of the other autonomic nervous system (ANS) pathways. This means that when we know how to recruit our vagus we can prevent ourselves from being hijacked by the more reactive and destructive patterns of either full mobilization or immobilization.
Survival through cooperation: While being a mammal is a pretty great deal, there are a few things that we do not do very well. Namely we are not wired to deal well being by ourselves, and any extended or intensive isolation is not good. Mammals evolved to co-regulate - meaning that we help each other regulate our states through caregiving and reciprocity. It is important to remember that Darwin’s theory of survival of the fittest has been long misinterpreted, and that we survived due to cooperation, and not through aggression.
Observations that may indicate that your system, or your partner’s system, is being recruited for defense: Is there reciprocity in facial expressivity? Eye gaze? Intonation of voice? Also ask whether the vocalization patterns lends themselves to reciprocal dialogue or are you stepping on each other’s words? Our culture is so focused on syntax and words that we have forgotten that one of the most important ways we detect safety is through prosody (varieties in tone/timbre/rhythm) in voice. It can be incredibly helpful to keep this in mind in your relationship and interactions.
Every relationship has some minor to severe level of arguments - meaning people feel some semblance of danger and they get angry or scared. When this happens the neural tone of the muscles in the face is reduced which changes the tone of the middle ear - and literally people will have difficulty hearing you. In arguments with partners or children, it is likely the other person is having difficulty understanding you, because they are actually having difficulty hearing you!
While communicating with your partner, regularly check in with not just what you are saying, but how you are saying it - what is your tone? What is your body communicating? And is your partner is a physiological state in which they are open to engage and hear you?
It is the experience and not the event. Trauma leads to a lack of feeling, or difficulty feeling, one’s own body. Trauma histories have very little to do with the actual events that occurred, and more to do with the physiological responses that occurred. When considering your, or someone else’s trauma history, focus less on the objective events or facts of the experience, and become curious and become witness to their subjective experience. This will lead to an understanding of how and why the body is reacting in certain ways.
If we don’t feel our own body - we have difficulty related to other people’s bodies. A feature of trauma histories is the lack of feeling one’s own body. In order to get a sense of how present you, or your partner is in their body, it is helpful to look at how well are you/they playing? Does the person have the ability to be spontaneous, reciprocal, and spontaneous in the interaction? Are they responding to cues?
In addition to the question of how well you are playing, the other important question is how well are you pooping? This is important because the whole area below the diaphragm holds and reflects the effects of trauma on our bodies. Trauma is linked with IBS, constipation, and furthermore, the nerves that regulate this area also regulate the genitals. When we bottle up feelings in the subdiaphragmatic area, our sexuality is also impacted. Highly anxious or tightly wrapped individuals will have digestive systems that reflect this, and likely their sexual responses to intimacy will reflect these features as well.
Our autonomic nervous system is there to support health, growth, and restoration! It is only when it is used chronically for defense that we begin to have dysfunctions and disorders manifest in our organs.
Repair- We have violations of expectations ALL the time! However, when you have a violation it creates an opportunity for a repair. It is important to remember that it is not the words of an apology that matter as much as it is how the apology is said: the gestures, the words, and the intonation of voice. Your partner will only respond to a valid apology when the nonverbals are in concert with the intention. It is not the words! Culturally we function so much on syntax in our culture and not enough on the intonation of the words - in your relationship shift your attention to how you are interacting and how your body, and your partner’s body is responding to intonation. Remember to ask - how am I creating safety in this interaction? Am I speaking with prosody in my voice that will create comfort for my partner?
Be more playful! Using gestures of engagement, and more playfulness, helps to regulate each other’s physiological state. The notion of connectedness is a biological imperative. The goal as mammals, and as good spouses, is to interact in a way that regulates each other’s physiology. It is a responsibility for individuals to interact to make each other feel safe. It is not just healing, and enjoyable, but it has great impact on our mental and physical health because it supports the circuits of health, growth, and restoration!
Somatic experiencing: In efforts to recover from trauma, it is critical that we learn how to separate physiology from events. This occurs when we have the opportunity to be in the same physiological state in which we experienced the trauma, however in a way in which we have the control we did not have when we were in original event. It will not happen by telling someone to not get upset or not worry when they are triggered, but instead letting them experience their body reacting, but this time in a safe context. Doing this begins to take power away from the implicit body memories.
Change your breathing pattern: Have you noticed how when you are upset with your partner, you begin to huff and puff? This is your body physically preparing to mobilize for a fight or to run. Can can change your physiological state towards social engagement through shifting your breathing. Long inhalations removes what is called the vagal brake and it allows us to get more mobilized. In an effort to slow down, we need to have long exhalations. Try extending your exhalations through intentional breathing and through singing. Singing is wonderful because it uses muscles of social engagement system. Another way to play with voice in your relationship is to improvise songs, and use gibberish in moments of tension to help change your intonation and move the focus away from the meaning of words, and towards how the voice can help build repair and closeness.
Escalation is not coregulation! In most relationship conflicts, both individuals feel like victims - in order to de-escalate a situation and move in the direction of play and connection, one person must step up and take charge of noticing the pattern, and changing the way of engagement. This means meeting your partner on their level - often through touch, gentleness, and a prosodic voice. Hug your partner - not in an effort to fix, but rather in an effort to connect and bring back safety.
Be respectful of your physiological state: Respect your body’s behaviors without judgement, and without justifying or making personal narratives. Our bodies are constantly sending us information about the world - be respectful of your body shifts, even in moments when your body is reacting in a way that feels exaggerated or maladaptive. Also be respectful of how your body state shifts affect those around you - knowing they are going to react to your shifts, whether you intended for that or not. Taking responsibility for your physiological state is not only about learning how to downregulate your system, but it is about communicating your state to those around you. We are human, and are not always going to be able to perfectly respond in a situation that triggers us, but what we can learn to do is to verbalize what is happening in our body to others! If you are angry about something that happened, or feel the signs of being triggered, share this out loud. This will help your family, your spouse, your partner be able to not take the visual and bodily cues you are sending personally. This will SAVE your relationship!
Last bits of advice: Remember to change the prosody of your voice, bring in gentle touch, and see yourself as a vehicle for healing and safety for you and your partner! Before you react, listen! Don’t use the physiological state you are in as the motivator for behavior, just pause for a moment and get a better evaluation of the context. Add in a few long exhalations, and you will be more able to stay present and get back to a physiological state that allows you to be responsive, engaged, and connecting with your partner and those in your life!
Resources
Visit Stephen’s website for more information, a list of public speaking events, and links to previous interviews!
If you want to gain an in depth understanding of Polyvagal Theory, read Stephen’s book The Polyvagal Theory: Neurophysiological Foundations of Emotions, Attachment, Communication, and Self-regulation
www.neilsattin.com/safety Visit to download the show guide, or text “PASSION” to 33444 and follow the instructions to download the show guide to this episode.
Text and original publication: https://relationshipalive.libsyn.com/34-the-science-of-safety-with-stephen-porges#1z8b0HZBdYOzR2mP.99
Robert Shine, Richard Brinkman, Frederick Cook, Robert Cook, Dennis Evans, Robert Evans, Richard Strain, Louis Rukeyser, John Mee, Dr. Long, Mike Metzger
3JUP0ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 3JUP0ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 0.08 ORPs and proceeds to the end of the simulation at approximately 10 ORPs. The black diamond in each of the panels indicates the location of the planet.
3JUP10ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 3JUP10ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 10.54 ORPs and proceeds to the end of the simulation at approximately 21 ORPs. The black diamond in each of the panels indicates the location of the planet.
An animated advertisement for 3M in which a man in an office tries to avoid social interactions by camouflaging as various objects around him. An offscreen male narrator talks about how workers in many jobs learn that they should stay out of sight and not contribute much in order to stay out of trouble, but 3M encourages employee collaboration and input. The ad concludes with the man being asked for his input on a project, at which point he stops camouflaging himself and begins collaborating. One of the winners of the 1971 Clio Awards.
An advertisement for 4711 Original Eau de Cologne in which a jingle plays over various scenes of people biking, picnicking, sitting at cafes, and doing office work. Submitted for the Clio Awards International category.
A woman applies 48 Hour Cologne Deodorant after her shower which allows her to be admire as she walks through the streets. A jingle is sung, and a narrator talks about the benefits of using the cologne.
The excitement of the Gold Rush is in this show; the feverish travel across the country to find treasure, and the life of the prospectors. Bash shows the methods of mining with rocker and with gold pan, and then goes on film to visit Columbia, California, where rich strikes of gold were made. An old prospector takes her to the river and shows her how he extracts gold by rocker and pan, equipment which is as good now as it was then. Songs include “I Wish I Were Single” and “Clementine.”
An advertisement for 5 Day Deodorant Pads in which an offscreen male narrator describes how the pads more effectively cover the armpit with antiperspirant than do roll-on, cream, and spray deodorants. The effectiveness of the different deodorant types is visualized with white paint lines across a black background. Submitted for the Clio Awards.
A woman shares an article from the National Medical Association. The article states that the 5 Day deodorants are the most effect with protecting people from perspiration and odor.
These films are part of the John and Hilda Jay family papers. They likely date between 1939-1946. This film has no sound; shows residential and campus life in Bloomington.
Edward R. Feil, Harold S. Feil, Nellie Feil, Mary Feil Hellerstein, Daniel Hellerstein
Summary:
An event celebrating 50 years of the PTA at Roxboro Junior High in Cleveland Heights. Harold and Nellie walk through an exhibit that has been set up in a classroom with historical documents and photos. Teachers, parents, and sponsors mingle and talk. Outside, student bands members (including Daniel Hellerstein) perform for the crowd.
From the series Ripples. It seems easy to get on a plane and fly somewhere, but it takes about 55 people to get a jet ready to fly. Each has his own job handling baggage, fueling, preparing and storing food, checking weather and maps,servicing the aircraft. Some important people you don't usually see are maintenance men,meteorologists at the weather station, and controllers in the tower. All these people and more work together so passengers can travel safely and comfortably by jet.
These films are part of the John and Hilda Jay family papers. They likely date between 1939-1946. Silent home movie of family and friends playing, cooking, and eating together.
Edward R. Feil, Harold S. Feil, Nellie Feil, Naomi Feil, Mary Feil Hellerstein, Beth Hellerstein, Susan Hellerstein, Daniel Hellerstein, Jonathan Hellerstein, George Feil, Helen Kahn Weil, Julius Weil, Edward G. Feil, Ken Feil
Summary:
Home movie of an anniversary party for Harold and Nellie Feil at their home. Friends and family mingle and enjoy refreshments.
An advertisement for 7 Up in which a jingle plays over shots of animated graphics and live-action female dancers moving around a psychedelic backdrop of stars, bubbles, and lights. One of the winners of the 1975 Clio Awards.
An advertisement for 7 Up in which an offscreen male narrator describes how the product "freshes up" one during a busy office workday. Shots of 7 Up bottles sitting in office and meeting settings are interspersed with stock footage from silent-era movies. Submitted for the Clio Awards.
An advertisement for 7 Up in which an offscreen narrator describes the beverage as the perfect sandwich companion over shots of sandwich ingredients stacking atop one another on plates and young people dancing and drinking the product. Submitted for the Clio Awards.
An advertisement for 7 Up featuring the folk music group the Kingston Trio as cowboys in an old western town. The Trio sings about shooting a bartender after he serves them the wrong drink after they request 7 Up. One of the Trio ends up imprisoned in a chain gang as the other two drink bottles of 7 Up nearby. Submitted for the Clio Awards.
An advertisement for 7 Up featuring the folk music group the Kingston Trio in a small mountain town. The Trio sings about buying bottles of 7 Up from a woman selling them outside her shop. A man being chased by a law officer gives the officer some 7 Up to call a truce. Submitted for the Clio Awards.
An advertisement for 7 Up featuring the folk music group the Kingston Trio as circus promoters. The Trio sings to a crowd of patrons about a trapeze artist called "Lovely Louise." One of the trio climbs up a ladder to give Louise a 7 Up, only to fall off in shock upon discovering she looks like a man. Submitted for the Clio Awards. (Note: ad contains an instance of transphobia.)
An advertisement for 7 Up in which an offscreen male narrator describes the product's refreshing features over close-up shots of bottles of 7 Up on ice, an ingredient list on a bottle, and young people smiling and dancing. Submitted for the Clio Awards.
An advertisement for 7 Up in which an offscreen narrator describes how the product is the perfect refresher for a busy business executive's work day over humorously re-appropriated footage from silent-era films. Submitted for the Clio Awards.
An advertisement for 7 Up in which a man and woman are thwarted in their attempts to flirt with each other on a bus and a cafe, before finally meeting in their shared work office and going out to a restaurant. An offscreen narrator repeats how it is "always 7 Up time" and praises the qualities of the product as the man and woman drink bottles of 7 Up at the restaurant. Submitted for the Clio Awards.
An advertisement for 7 Up in which a narrator named Eloise talks about her routine for preparing lunch and a 7 Up before talking on the phone. Still sketches of Eloise by cartoonist George Clark accompany the narration. Submitted for the Clio Awards.
An advertisement for 7 Up in which an offscreen male narrator lists a variety of situations that are perfect for drinking the product, such as sightseeing, friend gatherings, barbecues, etc. Shots of 7 Up bottles in different home and recreational settings are interspersed with stock footage from silent-era movies. Submitted for the Clio Awards.
An advertisement for 7 Up in which an offscreen male narrator describes how the product quenches the thirst of suburban homeowners over various scenes of silent-era movie footage. Interspersed among the silent movie scenes are shots of family-size 7 Up bottles sitting in a fridge or standing on a table with glasses for serving. Submitted for the Clio Awards.
An advertisement for sugar-free 7 Up in which an offscreen narrator explains how the product is the latest stage in soft drink evolution. Submitted for the Clio Awards International category.
An advertisement for 7 Up in which an offscreen male narrator describes how the product is perfect for teenagers in various school and recreational settings. Shots of 7 Up bottles in beach, homework, and party contexts are interspersed with stock footage from silent-era movies. Submitted for the Clio Awards.
An advertisement for 7 Up chronicling a woman's life through still stencil portraits as she grows up from 1929 (the year that 7 Up debuted) through the early 1960s, set to the song "Thank Heaven for Little Girls." The ad concludes on an image of the woman entering a maternity ward, while an offscreen narrator urges the viewer to "stay tuned" to part two to find out whether she gives birth to a boy or girl. Submitted for the Clio Awards.
Part two of a two-part advertisement for 7 Up chronicling a woman's life through still stencil portraits from her birth in the early 1940s until her marriage in the 1960s, set to the song "Thank Heaven for Little Girls." An offscreen narrator describes how 7 Up has served three generations of consumers since 1929. Submitted for the Clio Awards.
24x7 short presentation at Open Repositories 2015 (OR2015), the 10th International Conference on Open Repositories, Indianapolis, Indiana, in session P3A: Integrating with External Systems. Includes question and answer period at end for this presentation and the two 24x7 presentations that preceded it in session P3A.
Meeting of the 9/11 Commissioners and a discussion of their report and its legacy, seven years after its publication. Includes questions from the moderator, Ken Bode, directed to members of the committee. These comments are sourced from the general public as well as other sources. Each question is responded to by an number of commission members in turn.
Home movie taken by Eddie of the family's 1973 trip to Greenfield Village in Michigan. Shows the village as shot from a carriage passing through, a man working at a pottery wheel, horses in a pasture, a woman working at a loom, and Ed filming (see barcode 40000003364405).
Home movie taken at Angkor Wat in Cambodia. Much of the footage is dark and difficult to see. Buddhist monks in bright robes can be seen around the temple.
Footage documenting Bailey's travels to the Canary Islands circa 1971. Shows the seaside landscape and cliffs of Lanzarote. Bailey boards a plane leaving Lanzarote and films and view from the window, including shots of Mount Teide.
Footage documenting Bailey's travels to the Canary Islands circa 1971. Features Castillo de San Gabriel and street scenes showcasing local inhabitants and buildings.
Shows the Catholic tradition of the Blessing of the Fleet. Priests stand on a dock and bless a fleet of shrimp boats as they sail by while surrounded by a crowd of locals and parishoners. Unknown location, possibly Gulf Coast, South Carolina, or Georgia.
These films are part of the John and Hilda Jay family papers. They likely date between 1939-1946. Silent home movie shows Boy Scout troop at train station and in Washington, D.C.