An educator in Spain left little to imagination to teach her third grade students about the human anatomy.

Instead of simply using a textbook to instruct the class, Vernica Duque donned a form-fitting bodysuit that mapped out all the internal organs in great detail.

I was surfing the internet when an ad of an AliExpress swimsuit popped up, the 43-year-old told Bored Panda.

Knowing how hard it is for kids this young to visualize the disposition of internal organs, I thought it was worth giving it a try.

While no skin was exposed, illustrations of the heart, lungs, intestines, kidneys, muscles and ligaments were displayed in full view on the spandex getup.

Her revealing ensemble went viral with over 13,000 retweets after Duques proud husband shared images from her scintillating lesson on Twitter.

Very proud of this volcano of ideas that I am lucky to have as my wife , he captioned the tweet, which was translated into English from Spanish. Today she explained the human body to her students in a very original way And the kids were freaking out. Great Veronica !!!

A seasoned instructor with over 15 years of teaching science, art, English and Spanish, Duque prides herself in finding innovative ways to make the lessons interesting and exciting to her students.

I decided long ago to use disguises for history lessons, she added. Im also using cardboard crowns for my students to learn grammatical categories such as nouns, adjectives, and verbs. Different grammar kingdoms, so to say.

She added: Id like society to stop considering teachers to be lazy bureaucratic public servants. Were certainly not.

Going forward, its safe to say many will be inspired by dissecting Duques body of work.

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Teacher Wears Bodysuit to Explain Anatomy to Students - CBS Sports Radio 910

The alarm sounded shortly after midnight on Friday. Bleary-eyed volunteers and crew stumbled up to the mess room for a briefing. There was a boat, the ships head of mission, Rene Stein, told them. It was about 1.8 nautical miles ahead. Everyone had to be ready.

On the monkey deck, the highest point on which you can safely stand on the ship, the volunteer on watch duty could spy a light in the distance. It flashed across the Mediterranean Sea, bright, blinking once or twice before stopping. After a pause, it shone again and again, a sign of life under a smattering of stars. He peered through his binoculars, trying to make out the people on board.

Then, he heard them shouting.

As the Alan Kurdi rescue ship sailed closer, the captain lit up the vessel to show he had received the message from those in need. Two lifeboats were deployed, with volunteer drivers at the helm.

The first began to circle the 8m-long boat, while one crew member asked for information about who was on board. Five women, one of them pregnant, came the answer. There were 10 children, the youngest six months old.

A rescue operation is both fast and slow. It felt fast because everyones adrenaline was pumping, but slow because they knew it was important to do everything calmly. Panic costs lives, they had been warned during training.

The first lifeboat came back with four children, a woman and a man. The children were toddlers. They were lifted onto the Alan Kurdis deck, some crying, some with faces paralysed by shock. Once on board, the man clung his baby to him, breathing deeply and then letting out a cry. He began to vomit.

The lifeboat went back several times, taking children, women and then the men, who stumbled as they were helped up a ladder and down wooden steps.

Thank you, thank you, whispered one woman, wearing skinny jeans and a headscarf. No problem, replied one of the rescue crew.

To avoid it being reused by human smugglers and any accompanying accusations that the Alan Kurdis crew had collaborated with them, the boat they had travelled in was then destroyed. It went up in flames before the last lifeboat was hoisted on deck, and the Alan Kurdi began to speed away from the Libyan coast.

All of the 32 people brought on board were Libyans. They said they set sail from Tripoli hours before, and were escaping the war. In April, eastern general Khalifa Haftar ordered his self-styled Libyan National Army to advance on the north African capital. In the eight months since, more than 2,000 people have been killed in fighting and roughly 150,000 displaced.

In a statement last week, the UN High Commissioner for Human Rights said air strikes are the leading cause of civilian casualties, accounting for 182 deaths and 212 injuries, followed by ground fighting, improvised explosive devices, abductions and killings.

Libya is a transit country for refugees fleeing dictatorships and wars across Africa and the Middle East, but, increasingly, Libyans are also escaping themselves.

The condition of the fibreglass boat which had two engines indicated the people on it either paid more money or were better respected by smugglers, in comparison to sub-Saharan Africans, who are usually crammed into rubber boats, sometimes with faulty engines. The Libyans on board had food supplies for two days, a satellite phone and a GPS. They were able to call for help once they reached international waters, increasing their chances of survival.

Rubber boats are difficult because nothing reflects the colour. Wooden boats are better but theyre rather rare, Stein, the ships head of mission, had warned the volunteer crew in advance. Fibreglass was rarer still.

People were calm, in a very stable condition, said Stefan Schultz, a paramedic on one of the Alan Kurdis lifeboats, who stayed up all night caring for the people rescued.

Im tired, really tired, he said, on Friday morning. I cant really describe that feeling. The whole process was okay. We trained for this scenario and for that reason it worked quite well.

More than 19,000 people have died since 2014 trying to cross the Mediterranean Sea to Europe. The route from Libya is the deadliest migration route in the world.

Charity rescue ships such as the Alan Kurdi have been accused of acting as a pull factor for refugees and migrants, with critics saying rescues encourage more people to risk their lives by paying smugglers to go to sea, though the Alan Kurdis captain Uwe Doll rejects this interpretation.

They want to escape, he said. They know the chance, the risk of dying during this escape with small boats like these and they know that we [the charity rescue boats] only rescue 30 per cent of the refugees that are in this area. If you have only a 30 per cent chance you dont leave your country. You dont go on water unless youre desperate.

For his part, Doll said rescuing people has made him experience emotions hes never had before in his life.

It makes me sometimes a little bit sad and also it makes me happy. We can help them, I never had this feeling before.

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Anatomy of a rescue on the worlds deadliest migration route - The Irish Times

Leonardo da Vinci (1452-1519) was born in the middle of the Humanism movement a search for the lost wisdom of the classical age that broke with the rigid schemes of the Middle Ages. It provided an opening and a new vision of the world: man was no longer subdued and debased by life and by the weight of sin but felt, on the contrary, that he could take the reins and guide his destiny. Humanism brought him to the center of the universe, completely reassessing his position and his potential.

This passionate investigation, which began mainly thanks to the studies of Francesco Petrarca (1304 - 1374), also brought the recovery of the hermetic message and with it with the discovery of texts linked to the figure Hermes Trismegistus , the Egyptian Thoth, the ibis - God of wisdom, magic, time measurement, mathematics and geometry, and the inventor of writing. The Latin translation by Marsilio Ficino (1433-1499) of the Corpus Hermeticum , presented to the Medici court in Florence in 1463, spread hermeticism and its religious and occult teachings among scholars; who saw it as a divine revelation reserved for initiates.

Leonardo da Vinci was partly fascinated by secret knowledge and research, but his field was not ancient scrolls and codices, he was an omo sanza lettere (man without literary culture), he did not know Greek or Latin, but was an assiduous reader of the books of nature and texts in Italian vernacular. Like the humanists, Leonardo wanted to rise to the level of the angels through the study of God's creation.

Possible self-portrait of Leonardo da Vinci. ( Public Domain )

Leonardo's philosophy is presented in his very personal style of notes in books or sometimes in the form of pensieri (thoughts), i.e. stories that include and conclude with a clear and defined moral that often refers to Plato and Aristotle. However, Da Vinci eschews and does not submit to the fashion of auctoritas (the conception that the statements made by the Scriptures or by an erudite author of clear fame cannot be questioned but accepted for the mere fact of being a revelation of a higher knowledge from a secure and accredited source).

On the contrary, he argues vehemently in the face of the concept of sophisma auctoritatis "Ipse dixit ", (he himself said it). For Da Vinci, a thesis cannot be accepted only by virtue of the authority of the person who presents it, but he asserts and supports the superiority of direct experience, " la sapienza figliuola dellesperienza (wisdom is the child of experience), underlining the influence of Aristotle who taught experience as a methodology of investigation.

Leonardo studied and worked in the era immediately preceding that of Galileo, when science would move away from the supreme principles of Aristotle to establish a method of empirical and scientific investigation that reached the formulation of physical laws. Leonardo was not yet part of it, but he set out on this path through the meticulous study of nature: he cannot be defined as a scientist precisely because his objective is not to go back to physical law through observation and experience, but he nevertheless wished to understand the reasons and motives inherent in nature through reasoning applied to observation, what he called cogitatione mentale (mental reasoning).

Da Vinci's unique position, with one foot in Humanism and one in the Renaissance, offered him unexpected opportunities: from the humanistic riverbed originated the Renaissance of arts, philosophy, literature - following the establishment of the Seignories and the consequent phenomenon of patronage. The Medici in Florence, the Sforza in Milan, the Estensi in Ferrara, the Montefeltro in Romagna, and others, offered the lands they governed the pax (peace) and tranquility necessary to create courts of intellectuals, writers, artists, and architects, whose thoughts and refined atmosphere helped the Renaissance of art in general. In Rome, an opulent Church , eager to impose its own seal on the city, convened Michelangelo, Bramante, and Raffaello Sanzio, who would leave an eternal mark on the city.

The faade of St Peters Basilica with Corinthian columns and inscription. Credit: Ioannis Syrigos

The greatest architects, painters, and sculptors, from Donatello to Brunelleschi, worked in Florence in the Medicis time. It was a period when the great scholars had freedom and decent salaries. In this stimulating environment the Renaissance was generated - a movement of thought and culture that gave birth to a new vision of the world a place where Leonardo belonged. The discovery of perspective, consequent to this new way of observing the world, helped to renew painting and give new possibilities.

The humanistic search for truth and an anxiety for knowledge also permeated the artistic environment of the 15th century: in particular, the so-called "Artistic Anatomy", the investigation of the parts of the human body by dissection in order to acquire a better pictorial technique of the limbs, had spread into the studies of the most famous painters. The Artistic Anatomy came mainly from classical Greece, which needed it for its hyper-realistic sculptures and its search for perfection in proportions: the humanistic wave directly resumed this link with the past and assimilated the study of proportions to the search for the maximum aesthetic result.

Leonardo, at only 14 years of age, began to attend the workshop of Andrea del Verrocchio in Florence; serving first as a boy and then as an apprentice. The school of Verrocchio was a real art university and exposed the young Leonardo to an infinite number of techniques: probably he found the first rudiments of artistic anatomy here. But it was only later, around 1480, that Da Vinci personally deepened the study of anatomy as a means to increase his ability as an artist. In 1490 he wrote a letter complaining that he could not have human material for his studies.

Anatomy of a male nude by Leonardo da Vinci. ( Public Domain )

His knowledge increased in later years and oriented his interest to a much deeper level, so that from artistic anatomy he reached real anatomy, particularly from 1507 when he had the opportunity to perform dissections of corpses at the Ospedale di Santa Maria Nuova, in Florence. Three years later, his collaboration with the anatomist Marcantonio Della Torre led to autopsy observations in his Anatomical School in Pavia University between 1508 and 1512, carried out in view of the anatomical work De Figura Humana , which however never saw the light of day due to Della Torre's premature death.

Despite Leonardo's caution and discretion, this type of work and the consequent use of suitable personnel to provide the bodies for the dissections, was noticed. Malicious chatter began to spread about the mysterious occult occupation of master Da Vinci because his work usually took place at night to hide from prying eyes, it was in difficult conditions, and quickly completed because even fresh corpses quickly decayed.

The rumors became insistent and in 1515 Leonardo was accused of necromancy for his anatomical studies on corpses at the Hospital of the Holy Spirit in Rome. The Pope forced him to give up his research.

Da Vinci's research also extended to Physiognomy, the theory that somatic characters are indications of a person's moral and psychic characteristics. This was not a new idea as it was already present in the Pythagorean school, in the teaching of Aristotle and other philosophers, and in the Renaissance when it was also embraced by Michelangelo.

It is a concept without scientific basis that unfortunately reached the 20th century and was used by Nazi SS doctors to justify racial theories, linking the somatic features of Jews to dangerous characteristics such as greed, selfishness, and serious moral deficiencies. In his time, Leonardo deepened some aspects of it, maintaining however a scientific detachment that would bring him to a more objective vision than the painters of the time: he was convinced that the eye is the mirror of the soul and that some characteristics of the body can be indicative of inner deformities. However, scientific investigation always acted as a discriminating factor for him.

Study of five grotesque heads by Leonardo Da Vinci. ( Public Domain )

To this end, too, he deepened his studies of grotesque heads, fantastic animals, and even caricature; with the aim of capturing the inner nature of a living being. Although he acknowledged that the human soul can be expressed in facial expressions or in certain characteristics, in the Treatise on Painting he came to the conclusion that: Della fallace fisonomia e chiromanzia non mi estender, perch in esse non verit; e questo si manifesta perch tali chimere non hanno fondamenti scientifici (I will not use the fallacious physiognomy and fortune-telling because in them there is not truth; and this manifests itself because such chimeras have no scientific basis).

In this field, too, Da Vinci was an innovator as he was the first artist to scientifically study the "movements of the soul" and to express the psychology of the subject and his personality through painting.

The intensity and constancy with which Da Vinci pursued his anatomical investigation is a clear indication of a gradual deepening of his interest: it was no longer a question of understanding the forms hidden by the epidermal surface to apply them to painting or sculpture: now he had to understand the reasons, understand the mechanisms that moved the joints, the role of muscles, tendons, and even more the workings of the cardiovascular system, digestion, intestines, internal organs

In the margin of his anatomical drawings, Da Vinci inserted brief notes, forerunners of the modern scientific language, in the typical dry, clear, and rigorous style which would later be defined as Leonardo's prose. Sometimes the feelings of the Genius emerge - the astonishment for the complexity of the human body, which he called maravigliosa macchina (marvelous machine). This admiration for such a work of engineering would lead him to change the objectives of his anatomical investigation, directing them towards a much wider horizon than he could have imagined at the beginning.

A heart. Leonardo da Vinci wanted to know how the body works. ( Public Domain )

His anatomical drawings are actually questions, queries that Leonardo asked himself: How is muscular force applied to bones? How can the skeleton withstand the weight of the whole body? How does the heart work? How does blood spread in the body? These are the questions of a researcher, of a curious man who is eager for knowledge and doesn't find it in books. Therefore had to do the work himself.

In his painting techniques, the first investigations of Leonardo's Artistic Anatomy can be seen in San Girolamo, an unfinished painting in which he demonstrated his full knowledge of the muscles of the shoulders and neck, thanks to dissections and anatomical drawings.

Leonardo Da Vinci, San Girolamo (1480 ca.) (Public Domain ) and in comparison studies of the muscles of shoulder joint and neck. ( Public Domain )

Da Vinci's technique, in addition to drawings, sometimes includes notes and glosses on single sheets that should have been organized, collected, and catalogued in a precise order for proper consultation. However, like many other projects, he was not able to complete this task, burdened with the commitments and journeys necessary to fulfill his duties. This is the reason why his anatomical encyclopedia was not published centuries ahead of future university studies.

The publication of De Anatomia, (Fogli A e B) was to take place only in 1898 by Theodor Sabachnikov, who brought together the drawings from the Windsor collection in the work: Leonardo da Vinci's Manuscripts of the Royal Library of Windsor ( Dell'anatomia, fogli A e B ), Turin, Roux, and Viarengo, 1898.

This method of dissection subverts the methods of the time, which presupposed treatises on anatomy with few illustrations and a lot of text. The text was read and commented on by the teacher in the Anatomical Room while the dissector worked materially on the corpse and the various parts were indicated by the doctor with a long wand. Leonardo recognized the great possibility of pictures to illustrate and teach, highlighting details and clarifying concepts.

Da Vinci is also innovative in this field because he often used the technique of exploded drawing. Once the dissection was completed (from the Latin dissect, dis = separation, secare = cut), that is the cut of the limb or of the internal organ, he recomposed it through exploded drawing: this technique highlights not only Leonardo's questions concerning anatomy, but above all those concerning the reasons why the human body is made in this way and works with these organs.

Over time Leonardo's questions became more important and pressing; particularly when he began to study the reproductive apparatuses of men and women and finally arrived at Pathological Anatomy when he approached disturbing questions about changes in the human body due to age, and performed real autopsies in search of the causes of death. And from these he reached the SECRETUM, the biggest questions on death, on life, on the origin of it, with drawings of the human fetus already formed in the vicinity of childbirth.

Studies of the fetus in the womb by Da Vinci. ( Public Domain )

What is the spark of life? Where does the soul have its seat? These are recurrent questions in Leonardo's investigation and follow lines not far from the thought of the humanist Marsilio Ficino. Soul, mind, and quintessence coincide and are located in the brain.

Renaissance philosophy is uncertain about the physical position of the soul in the human body, recognizing a possible probability to the heart and/or brain: Da Vinci deepened the concept of the moti dellanima (soul motions), or emotions, always linked to the heart - but in the course of his dissections he realized that while the heart is an extraordinary machine, it is simply a pump.

During his experiments he learned that the optical nerves carry the images to a specific part of the brain, then following other bundles of nerves he reached the site of impressions and emotions, to finally arrive at the ventricolo centrale (central ventricle) which he saw as the site of the human soul il senso comune " (common sense), and where the memory and personality of the individual is also located.

Ultimately we can say that Leonardo believed, as a transcendent philosopher, in a God-creator, and thought that the painter or artist generally creates in the image of God, being an emanation of Him. He affirmed the idea of the existence of a soul that yearns to return to the Father and all his anatomical investigation can be defined as the Anatomy of the Soul because he wanted to use it to find answers to the most disturbing questions, such as the search for the mystery of the spark of life.

In this sense, the issue of the search for the golden proportion that the Renaissance and Da Vinci studied from Phidias and Fibonacci, should include the so called Signature of God. However, Leonardo approached these themes according to his personal vision as an ante litteram scientist, combining metaphysical research with scientific investigation, anticipating Cesare Lombroso's research four centuries later.

In his research Leonardo studied the divine proportion, a geometry inherent in creation that characterizes beauty and harmony. The human body is one of the most evident representations of this and Leonardo highlights it with the Vitruvian Man and by illustrating the De Divina Proportione (1509), a text by the mathematician Luca Pacioli on the golden ratio, a necessarily approximate number that corresponds to 1.618034.

Leonardo Da Vinci, L'Uomo Vitruviano (Vitruvian Man), originally known as Le proporzioni del corpo umano secondo Vitruvio, (The proportions of the human body according to Vitruvius), c. 1490. ( Pixabay License )

Closely linked to the Fibonacci sequence, also known as Phidias constant, it is the number that expresses the golden or divine relationship that Greek architects regularly used in their constructions: they were able to divide any line into two segments so that the entire line was about 1.618034 times longer than the longest segment, and the longest segment was about 1.618034 longer than the shortest segment. This proportion was also respected in the statues, where the forearm was in the entire arm to the extent of 1.618034, and so on for all parts of the body and face.

Classical Greece knew that in nature the golden number is continually reappearing; for example in the spirals of growth of sunflower seeds, in the elegant geometries of the Roman cabbage, in the form of a spiral or in other figures such as the lower section of the waves of the sea that form the golden spirals. The Renaissance rediscovered the harmony of the golden number and applied it to painting, identifying the so-called "Signature of God" - the secret of beauty and harmony as a sign of the Creator's hand, as believed by the mathematician Leonardo Fibonacci who had studied it in the 13th century.

Top Image: Leonardo da Vinci portrait and anatomical sketches. Source: klss777 / Adobe Stock

By Pierluigi Tombetti

Pierluigi Tombetti is the author of the recently published SECRETUM - Il Codice L (SECRETUM The L Code), researched from the documents concerning Leonardo Da Vinci's trip to Romagna to the service of Cesare Borgia (1502), it is an extraordinary thriller that winds between the present and the past in search of the mysterious SECRETUM.

The most interesting and instructive way to get closer to the secret studies of Leonardo and his Anatomy of the Soul. Completely based on accurate historical data.

Capra Fritjof L'anima di Leonardo: Un genio alla ricerca del segreto della vita (I sestanti), Rizzoli, 2012

Da Vinci Leonardo, I manoscritti di Leonardo da Vinci della reale biblioteca di Windsor (Dell'anatomia, fogli A e B) riuniti daTheodor Sabachnikov), Torino, Roux e Viarengo, 1898. Il testo B si pu liberamente consultare online al link: https://archive.org/stream/imanoscrittidile00leon#page/3/mode/2up

OMalley Charles Donald, de Cusance Morant Saunders John Bertrand, Leonardo da Vinci on the Human Body, New York: Henry Shuman, 1952.

Keele K.D. Leonardo da Vincis Anatomical Drawings at Windsor, New York, The Metropolitan Museum of Art, 1984

Hilary Gilson, Leonardo da Vincis Embryological Drawings of the Fetus, Embryo Project Encyclopedia (2008-08-19). ISSN: 1940-5030 http://embryo.asu.edu/handle/10776/1929

Jaspers Karl, Leonardo filosofo, Abscondita, 2001

Luporini Cesare - La mente di Leonardo, Le Lettere, 1997

Marinoni Augusto, The sublimations of Leonardo da Vinci, Smithsonian Institution Press, Washington 1970

Mingazzini Paolo., et al. I Segreti del Corpo - Disegni Anatomici di Leonardo da Vinci, Anthelios Ed. Milano 2008

Pedretti Carlo, Leonardo. Ed. Mondadori, Milano 2008

Tombetti Pierluigi, SECRETUM Il Codice L, Eremon Edizioni, 2019

Valery Paul, Introduction to the Method of Leonardo Da Vinci, J. Rodker, 1929

Vasari Giorgio, Vite dei pi eccellenti pittori, scultori ed archi tettori, Firenze, 1568

Video Conference - Leonardo e Lanatomia dellanima, Davide Monda, Pierluigi Tombetti, Cesenatico, Museo della Marineria, 2019 al link https://youtu.be/kUJ-qf_itPg

The rest is here:
Secretum: Leonardo Da Vinci and the Anatomy of the Soul - Ancient Origins

SAN FRANCISCO The Warriors new home court is where Suns coach Monty Williams first became concerned about his teams potential for slippage, when Phoenix nearly blew a game in which it led by as many as 34 points.

So its fitting that Chase Center is also where the Suns longest losing skid of the season hit its nadir.

The Suns surrendered a 12-point fourth-quarter lead in their 105-96 loss to Golden State, marred by sloppy play. It was Phoenixs eighth defeat in a row to fall to 11-20. Without hesitation, veteran point guard Ricky Rubio called this the worst one of the tumble.

Right now, were showing (ourselves to be) the team that we dont want to be, Rubio said. But its the one we are right now. And its a losing team.

Here is the anatomy of such a defeat:

27 turnovers

That season-high figure is glaring, jarring...

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'Worst one': The anatomy of the Suns' eighth consecutive loss - The Athletic

FLORHAM PARK, NJAn NFL broadcast can oftentimes last for over three hours. The total time viewers watch live-action (with the ball actually in play) averages out to a measly 10:43, per a 2010 Wall Street Journal study.

Incredibly, the average NFL play is usually just under four seconds.

So why does it feel as though analysts who possess the ability to break down the Xs and Os never have enough time to hit on everything? Well its simple: there actually is too much to go over during each four-second play.

Outside of its nature of pure will, football is a game of strategy. Coaches deploy their pieces as if it was a game of chess, attempting to punch, counterpunch and think multiple moves ahead.

The anatomy of a singular play is complex, especially when a touchdown is involved. The New York Jets first score against the Pittsburgh Steelers in Week 16a Sam Darnold-to-Robby Anderson beautyis no exception.

The ninth play of the Jets opening drive featured a challenge. Nine yards for a first down on an excellent drive that kickstarted the game, something Adam Gases offense has excelled at this season.

At the 23-yard-line, a Sam Ficken field goal try would equal 40 yards. Darnold cannot take a sack and Gase cannot play it conservatively, but he knows the Steelers defense wont lag. Theyll play the sticks aggressively, at the very least.

Darnold scans the defense and nothing is out of the ordinary. Pittsburghs usual single-high/three-deep look is fully intact on this crucial 3rd-down.

By the time Darnold takes the snap, the defense remains vanilla. The Steelers send four at the quarterback with two excellent bookend rushers in T.J. Watt and Bud Dupree.

Therefore, the young quarterback knows he should have time. His five big heavies should handle the four-man rush for at least a standard 5-to-7 drop.

This play is designed for Darnold to hit something on the right side. Of course, the left side is available in the right coverage, meaning a man-to-man look; but the Steelers go with a zone.

Notice the Z-close alignment of Anderson. This is intentionally done by Gase for a reason. On the previous nine plays, Pittsburgh deployed a single-high look with cornerback lag on the outside seven times. The other two plays featured a two-deep look that even saw the strong safety messing around with a lurk/robber position pre-snap.

The soft spot in the zone against a single-high/three-deep look is the seam. (Against a two-deep zone, its the middle of the field on a post or deep dig or down the sideline on a fade/9-route.)

Therefore, Andersons seam out of the close alignment is the perfect call against this Steelers pre-snap look and Darnold should be looking his way from the jump.

The Steelers gamble with the coverage. Instead of allowing the free safety to take his usual deep middle-third zone, he jumps up into a robber position, looking to take away the sticks over-the-middle.

Darnold sees it and knows he doesnt have to adjust. Instead of looking to fit the seam into Anderson against three-deep, he can do it against a two-deep CB look (with the corner maintaining outside leverage).

The free safety action to robber is the key.

Luckily, there wasnt much for young Darnold to think about on this one. Anderson represented the primary target initiallyespecially if single-high/three-deep was the lookand he turned out as a better choice once the free safety walked up into a robber.

The only thing Darnold had to worry about was the strong safety trailing, who helped bracket Anderson.

It didnt matter. Darnolds strong and confident throw coupled with perfect placement allowed Anderson to make a tremendous catchone that showcased the greatest evidence that he can be a No. 1 receiver in the NFL.

Its not always this easy. Granted, the throw and catch were difficult; it was the pre-snap primary target remaining the perfect choice that turned out as a relatively easy quarterback read on this onethanks to the single-high move to robber.

In the end, credit Darnold, Anderson and Gase. Especially credit the play-caller for knowing to place his top wideout in the close alignment to run that seam against a familiar Steelers single-high look.

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New York Jets Film Room: The anatomy of a Sam Darnold-to-Robby Anderson TD - Elite Sports NY

When we look back at our history, with India at the cusp of two decades, we will recall this political moment as one marked by a deep schism in our polity in response to the Citizenship (Amendment) Act (CAA) and the National Register of Citizens (NRC). Lakhs of Indians have come out onto the streets to register their protest against the relegation of Muslims and indigenous tribes to second-class citizens. These (largely peaceful) protests have been met with violent repression and detainment by the police across Indian cities. In light of these political developments and the brutal violence of the past month alone, there are important questions to be answered: who is this country for, who is allowed to protest, and what is the nature of dissent at this critical juncture?

In Chennai, the first major public protest happened on 16 December 2019. We gathered with placards and slogans, and watched politicians speak about the injustice of the CAA while also pillorying their adversaries. The beat of theparai drum was electric and the chief sloganeer led us to animatedly raise our voices to decry how the CAA and NRC combined can affect its own citizens. The slogans simultaneously expressed outrage, hurt, and importantly, unity. The feeling of people coming together suffused the air with a brief optimism that the situation might turn out differently.

The next day, there was a student-led protest at a university campus. Some of us went to show our solidarity, but the gates had already been closed, and a battalion of policemen and policewomen had gathered with their vans, lathis, and the deterring effect of their uniformed presence. In a surrealist twist, right as we arrived at the university, a policeman was doling out plates of biryani to the other 20-odd personnel, standing around with their lathis sticking out like a first warning. When we joined up with the student protestors who were behind the gates, the biryani was abandoned for an interrogation about our identity cards. Denied entry on account of not being students of the university, we stood outside with our placards and slogans. Three chants in, the police encircled us and declared that we were under arrest. It had been less than a minute since we had assembled there.

The policeman in charge announced that we had broken a law. We argued that Section 144 had not been imposed, making his argument, that people could not assemble in groups of more than four, void. But the police van began to pull up, and we tried to get away as he threatened to detain us. A man in plainclothes video-recorded this entire interaction. A few days later now, the video is trending on Twitter among right-wing Bharatiya Janata Party supporters who claim that the group of women in the video were paid protestors, not really students, and were stirring up trouble for no reason. Other comments are far more vitriolic, urging the police to identify the people in the video, enact violence, lock the women up.

Beyond the misogyny of the comments, the aggression appears to stem from the threat and affront presented by the image of a young woman raising her voice at the policeman threatening to arrest her, not only refusing to oblige, but also calling him out on furnishing a court order that did not exist. As a result, in the comments, she is a liar, she is a fake protestor, and paid by the opposition to be there. There is something about this moment that has allowed for the weaponisation of the power of social media and selective visuals.

What are the optics of a protest? We protest because we want to be seen by the agents of the state as registering our dissent, and we hope that the media will portray our struggle accurately. At the same time, a protest also allows for grandiose performances of wokeness and social grandstanding to claim that one is socially aware and awake (hence, the pop-culture term woke). Though being seen as dissenting is part of the protest, hollow rhetoric has no place in a fraught political moment. Finally, being seen can be the very thing that is turned against a protestor by those who want to discredit that protest. In capturing partial and misleading visuals, and doctoring videos or photographs, those supporting the CAA and NRC can misattribute violence to protestors, discredit their legitimacy, and out the protestors to those that might turn their vitriol against them: parents, relatives, and neighbours. Young students are a vulnerable group whose agency can be undermined by familial control, social surveillance, and the fear of retribution.

What can unsettle authoritarianism more effectively than undiluted outrage, hurt, and dissent? In the fight against a saffronising India, students are targeted because they represent a threat to a state that is smug in its own moral authority. Here are two groups laying claim to different futures, knowing there will only be one outcome. Political parties enjoy the protection of the policethey can easily obtain permissions, and the organisational work follows a clear and established chain of command. Students, on the other hand, have no vested interest in furthering their hold over vote banks or other stakeholders. In fact, the repercussions for them are the greatest should they be detained, misrepresented, or outed to their families. Yet, despite these risks, they show up on the streets to stand in solidarity with other citizens being killed, shamed, and edged out of the democratic pie, if there is one at all. And herein lies the power of student protests that presents a threat to the supporters of the CAA and NRC as well as to an authoritarian regime.

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Anatomy of a Protest - Economic and Political Weekly