Last time, we talked about these addressing modes. So, any question on these? So, I want to mention a couple of things before moving on. We also talked about how big the displacement should be, how big the immediate value should be and so on and so forth. So, if you look at, so there are couple of things. The first thing is that, so these are essentially as we said, these are register operations. This has nothing to do with the memory, whereas the rest would go and access memory in some way or the other. And the special case was this one, which actually accesses memory points. Now, of course, as we will go along, we will find that these two are usually the most frequent addressing modes that you observe in programs. So, natural question that arises is, under what circumstances the compiler generates such instructions? Because the compiler has the ability to always generate this instruction, register it directly. You can always put the address in a register and can generate this instruction to access that particular memory. So, the question is, why should the compiler need this instruction? So, that is a very valid question. So, that is one question we will try to answer. The second question is, which I want to address first is, if you look at these addressing modes, the way you address the memory, particularly if you take these two, you find that we have a very compact way of representing the address in the instruction. Essentially what we are doing is, we are putting the address in a register and we do not have to put the address in the instruction anymore. As long as I put the register index one and register index four, my instruction is complete and of course, along with the opcode of that. So, previously, if I backtrack a little bit, we were talking about these classification here, that we have this classification based on number of memory operands, number of register operands and so on and so forth. And we said that if we have memory operands, your instruction size might increase because you have to put a big address in the instruction. But of course, that is not exactly correct. Now, you can easily see that because we have other compact ways of representing addresses. We can put the address in a register and can just put the register index in the instruction and that is enough. But of course, if you are using absolute addresses in your instructions, then of course, you will have to put the full address. But actually, nobody does that. That is a very infrequent way of accessing memory and the obvious reason now should be clear that it would increase your instruction size. You would always put the address in a register and then generate the corresponding instruction like one of these. So, only here we talked about putting the absolute address, but you will settle on fine circuits. So, the second question was that why should compiler generate this instruction? Displacement-based address. Because the compiler can always generate this one. You can put the address in a register and generate this instruction. So, this one you will find very often when accessing the stack. So, usually you have a stack pointer which is a register. And if you want to access something in the stack, you generate a negative displacement here from the stack pointer. Negative or positive depending on which way your memory grows. Similarly, if you have some pieces of global data, usually global data are stored in a specific region of memory. And the base of that memory is pointed by another register called a global pointer. So, if you want to access some data in the global memory, you essentially generate a displacement with respect to the global pointer. So, these are the cases where you will find displacement-based instructions getting generated by the compiler. And of course, as I said, this is a special case of that with the displacement of 0. For example, if you want to access the top of the stack, you generate this instruction with R 1 being the stack pointer. Sir, this is a base point register, register, type of IAC. No, here you have, no, here for example, we are allowing you to do ALU operations directly on a memory operator. So, this would be like a memory register IAC. Sir, it is simulating memory register with register register or it is a memory register? No, it is a memory register actually. One operand is a memory address. It is only that we have a compact representation of the memory address. So, you are using register to store the memory address. That is it. There is no other difference. Whereas, if you just remind others, if you have forgotten, if you only have load store instructions allowing memory operands, then that would be essentially a register register function, where your ALU operations will operate only on registers. Sir, as you mentioned about the, we put the memory address in a register. Yeah. So, I mean, following that, the displacement addressing mode should also be done like index addressing mode, because you can store the displacement in a register and then use that. Sorry, Sagan, what is that question? So, displacement you put the displacement in the instruction itself. Right, yes. So, you are saying, why not use this one? Yeah, that is a very good point actually. So, I was exactly about to mention that. So, why would I need this one? If I have this one, I should be able to exactly synthesize this. The point is that your displacement would be limited to a certain size in the instruction, because see, displacement will actually appear as a constant in your instruction. So, there will be limited number of bits given to you for encoding displacements. Suppose, you want a very large displacement. How would you do that? Well, then you have to use R2 this one. You have to use the index addressing mode. You put the displacement in R1, put the base in R2 and generate this instruction. Does that answer the question? Anything else on addressing modes? Any other questions? So, in these last three cases, this auto increment, auto decrement and scale. So, first of all, let me remind you what this is. So, essentially here, we are taking the value at location pointed to by R3 and adding it to R4 and putting the result in R4 and also incrementing R3. That is what we said. Similarly, auto decrement, you would decrement R3. And the scaled case, we would be essentially adding R2, R3 and 100 and generating a memory location. In certain processors, you will find that there is one more extra parameter. That is usually programmed into the processor before you invoke an auto increment instruction. And that is how much you should increment. Here, we are assuming by default you should increment by one. Need not be. So, usually the processors would have an instruction before auto increment which would actually program that special register which would be implicit here. So, you would increment by that amount. And the reason is that you might have an application where your array elements are not exactly one byte. So, here we said that you could initialize R3 to the array base. And you just want to add all the elements of R3 cumulatively. So, in that case, you would just do this instruction loop and automatically the R3 will get incremented. So, now if your array elements are not a byte, you would want to increment by a larger amount. And that is exactly where this becomes handy. That is how much I should increment that particular flexibility. So, digital signal processors you see to special addressing modes very frequently. This is usually called the modulo or circular addressing mode. Here auto increment, auto decrement with automatic reset when end of buffer reached. So, this is very useful for streaming data. You are streaming through a data and when you reach the end, it is automatically reset to that so that you are now prepared to stream again next time. There is another addressing mode found in digital signal processors called bit reverse addressing mode specially designed for fast Fourier transfer. So, I will not go into the details of this. If you know about FFT, you will be able to understand why that is needed. If you do not know about FFT, I would suggest that you go home and read about it. You will understand why this is actually needed. Bit reverse addressing mode. Now, the important point is that the compilers may never be able to generate these addressing modes because identifying situations is very hard.  You are given a large piece of code and it is very difficult for the compiler to figure out that oh, this is an FFT. So, I should be generating bit reverse addressing mode. That is almost impossible. So, essentially what happens is that you would have hand assembled libraries who actually hard code these addressing modes in the instructions. You will rely on the compiler. So, as we go along, DSP applications get larger and compilers become more and more important because gradually we are of course improving your DSP compilers as well. So, in summary, addressing modes should be simple. Displacement and immediate are popular. So, again I will try to remind you that whenever you talk about the immediate addressing mode, it does not refer to accessing memory. It is referring to operative on a constant. So, it is not actually accessing memory. Remember that. And you can always emulate, register, indirect with displacement because this indirect is just a special case of displacement, displacement 0. Your addressing modes must match the ability of the compiler to use them. Very important in the desktop server market because here hand coded assembly libraries are just out of question. Given the wide variety of programs we run. Displacement should be 12 to 16 bits. So, this has pretty much become the de facto today based on your statistics collected from applications. We discussed this last time also that the displacements are usually small. So, this turns out to be enough in most cases. Immediate should be 8 to 16 bits. Again that is again based on your statistics collected from applications. In reality these use the same space in the ISA encoding. So, the immediate and the displacement actually use the same bits in the instruction encoding. So, we will talk. We will look at concrete examples when we talk about the MIPS. Yes. At least one register operant you mean. Yes. The reason is that if you when you are designing the ALU for example, usually the ALU generate a result in the register. So, that is the reason why you want to have at least one register in the input. So, you could hide that as well. See I mean it is all about what you exposed to the outside world. So, underneath what is really happening is that whatever memory operants you have ultimately the memory is accessed and brought into a temporary register inside the CPU. Otherwise you would not be able to invoke the adder out of question. Because adder takes inputs from two registers and puts the result in another register. You could hide all these three temporary registers from the programmer. The programmer would actually see accessing to memory locations getting the result back in another memory location. That is possible. So, the next question is how big should my operants be in my instructions. So, this is usually specified in the instruction opcode. So, here again we are talking about the memory instructions. Because when you have register instructions of course your register size fixes the operant size automatically. So, usually these are specified in the instruction opcode like we talked about last time bytes, half words, words or double words. So, in this class we will follow the convention that a double word is 8 bytes 64 bits. Word is 32 bits and half word is 16 bits and byte is 8 bits. Characters are usually bytes but 16 bit java unicode is also popular. Integers. So, again here what I am trying to do is when you have a high level language program that will have data types. Characters, integers, reals, floats depending on what language you are programming. Now, the compiler will have to compile that data type and will have to map it to some operant type in the machine actually in the instructions. So, there has to be a mapping one to one mapping between your high level language data type and your instruction data type. So, for example when you are operating on a character, your instruction should be actually a byte instruction. It should generate some instruction that manipulates bytes. So, integers can get mapped to half word, word, double word depending on what data types the programming language actually offers. Because it varies a lot. For example, if you are doing programming in C, you would have short ints, you would have ints, you would have long ints, there have been various other flavors. So, it all depends on how it is exactly interpreted. So, essentially compiler will know the meaning of these things. Like when you say short int compiler will know what it means. And it automatically generates corresponding data size instructions. Floating point numbers are usually expressed in IEEE 754 format. So, these are standard actually. So, 32 bits or one word for single precision, 64 bits or double word for double precision. And there is another 80 bit extended precision. So, these are again standards. So, whenever the compiler sees that you have a double variable, it would probably try to generate a double precision 64 bit instruction. If the machine supports. Otherwise, that value will be broken down to two single precision 32 bit numbers. And the corresponding instructions will interpret these two together actually. So, we will again look at, when you look at MIPS, 32 bit MIPS, we will see how it actually manages 64 bit data types. For business transaction, accuracy of decimal arithmetic may be important. In fact, it is very important. So, usually there you would use packed decimal or binary coded decimal. So, these are supported by x86. So, you can actually generate BCD operand types in your x86 instructions. So, what is binary coded decimal? Does anybody know? What is BCD? It is just a number system just like your binary hexadecimal. What is BCD? For each digit we have explicitly write its decimal. Decimal, exactly right. For each digit. So, for example, if I write a number 23, its BCD encoding would be 00100011. You need 4 bits, right? 029. So, that is the BCD encoding of 23. So, why would you do that? Here is an example. Suppose you want to express the decimal number 0.1 in binary. How do you do that? How do you do that? 0.1 to binary. What is the procedure? Multiply by 2 and so, what is it going to generate? 0.1, then 0.2, then 0.4, then 0.8, 1.6. Then 1.2. So, you are back here. So, it records now this part, right? So, it is going to be a recurring binary representation. It is not going to terminate. So, clearly, but you have to terminate it somewhere because your machine has only finite precision. It can only store a finite number of bits. The problem is that suppose you make a transaction of 20 rupees 10 paisa. You convert it to binary inside your machine. You keep losing money slowly. Over time, it will build up by a huge amount actually. So, that is the problem why the business transaction machines like the ones that are used in banks and ATMs would probably never use binary representation, would routinely use probably BCD or go to this back decimal. Is it clear to everybody? The problem of using binary, your transactions will be inaccurate and you will start losing money or maybe gaining money depending on which way you round off. Of course, I showed you how to present an integer. Of course, you can represent a fraction also in BCD. You will have to put the fixed point somewhere. You have an encoding for that. Fixed point GPUs and digital signals. So, GPUs, they stand for graphics processing units and digital signal processors are also very common. So, here essentially what you do is you have a separate mantissa and exponent in your representation. So, what are my operations? Final question, right? Simplest operations are used most frequently. For example, 10 exetistic instructions were found to be sufficient to cover 96 percent of the entire spec integer 92 soon. It's an old truth, but this statistics hasn't changed much. Commonly supported operations are arithmetic and logic, load store operations, control transfer like the branch operations, system calls for talking to the operating system, to talk to your devices like keyboards, displays and all these things. And of course, the floating point operations, floating point arithmetic operations. Instructionally supported, decimal arithmetic supported by x86, string operations again supported by x86. By graphics here, I actually, ok, so it's there. So, graphics operations are often uploaded to a co-processor. For example, graphics processors would support special graphics instructions. Media and signal processors normally operate on narrow width data. So, here also by media, I mean multimedia extensions and all these instructions also come into the same category. So, possible to execute multiple such operations in parallel. So, this is often called a single instruction multiple data operations, SIMD. For example, your 4-wide SIMD in 32-bit Intel processors would actually have 128-bit wide registers. So, that it can operate on 4 32-bit operands in parallel. Digital signal processors normally support saturating arithmetic because, so by saturating arithmetic I mean that suppose you have a 4-bit register and the current value is let's say 14, you add 2 to it. So, it will saturate at 15, not actually overflow and make a mess. The reason is that on overflow taking an exception is out of question, especially in real time applications. In real time applications you just cannot even think about an exception.  So, saturate to the maximum value. The DSPs also use something called multiply accumulate operations. So, these are essentially fused multiply add. And very important when you are for example, calculating inner product of two vectors. So, essentially what you are doing is that you are just doing this, right? X I Y I. So, what it would do is, it would multiply and add together. So, it will fuse the whole thing into one instruction. So, let's show you how it actually operates. So, initially you do X naught times Y naught, right? Put it into some register z, alright? Then after that every instruction will be doing this. This is just one instruction, multiply accumulate together. It won't be two instructions. So, that's the Mac. So, essentially you can complete doing an inner product of two inner dimensional vectors using essentially any instructions. You won't require two N operations to do. So, Macs per second is probably the most important metric used by digital signal processors. It would take less time compared to doing a multiply and add. May not be same, probably bigger than each of these. But take it together to be smaller. So, we'll spend some time talking about arithmetic logic, although I'm sure there isn't much to talk about. You know me about this. Add, subtract, multiply, divide, and, or, nor, XOR, all these operations are arithmetic logic. Load store not much to talk about. Load from memory to a register, store from a register to memory, right? So, let's talk a little bit about control transfer. So, there are four major types of instructions. Conditional branches, most frequent, about 24% of all instructions. So, which basically means that more or less every fifth instruction is a branch. So, they're fairly frequent. Unconditional jumps could be direct or indirect. So, direct unconditional jumps will actually load your jump target address in the instruction, so that from the instruction you know where to go. Whereas, unconditional indirect jumps would actually take your target from a register. So, you have to read a register to know where to go. Proceed your calls. These are also unconditional jumps, because there is no condition on that.  Only difference with this is that you'll have to do some extra work to make sure that you return to the right point when you return. So, that's procedure return. This is also another unconditional jump, but it does again some extra work to make sure that you restart your execution from the point where you call the procedure. So, naturally the question arises in all these cases is how to specify the target, because that's the most important thing when you talk about a branch instruction. Otherwise, there is nothing very interesting, because your opcode will tell you that, oh, this is a branch instruction. Of course, conditional branches would have another extra thing that is the condition. So, let's first see how to specify the target. If the compiler, okay, by the way procedure calls may be of two types. Okay, maybe I'll talk about this when you talk about the target. Okay, so let's hold on to that for some time. See, the compiler can figure out the target address. It includes it in the instruction as simple as that. Most frequent one is the PC relative targets. So, these are essentially position independent because it reduces linker border, because what it says is that, well if you are now here, I would like to jump 16 more instructions down. Okay, that's a PC relative target. So, finally it doesn't matter where this code ultimately goes in what address, because this offset still remains unchanged.  Okay, which is why we often find that compiler would generate this kind of addresses, PC relative, because it's the easiest one to do. And it decouples the compiler from the linker, because the linker will finally decide where the code sits. Okay, otherwise any addressing mode can be used. For example, so for PC relative addressing, we see that we'll actually use the immediate addressing mode, because we put the offset as an immediate value. So, internally what will happen is that the machine will take the immediate value, add it to the PC to generate the target. And of course, the immediate can be positive or negative. You can go backward, you can go forward, either way you can go forward. For procedure call and direct jumps, the target is normally included in the instruction as a large concept. Okay, however there is an exception. Procedure calls can be indirect, meaning that the compiler actually may not know the target when compiling the program. Can you think of any scenario? Sorry, same? Function pointers. Yeah, function pointers, exactly. Anything else? Any other situations? Multiple? Dynamically linked. Yeah, so let's talk about static binaries. We have static binaries. Any other situations? Other than function pointers, indirect procedure calls. So, another example is virtual methods. Actually, internally your virtual methods get compiled into functional pointers. Another example is switch case statements. Think about how a switch case statement would get compiled. How would it get compiled?  Would it be conditional jumps? What is a clean way of compiling switch case? So, there is a restriction on your case argument. It has to be an integer. Do you know why? Does everybody know that case arguments have to be integers? It cannot be a floating point number, for example. Why is that? Loses the value. That's fine. That's an implementation detail. What would be a clean way to compile switch case? Would it be a series of conditional branches? I'll tell you what it normally does. Those who are taking a compiler course this semester will probably learn. So, essentially the compiler builds a table. So, each case target will be the table entry. So, case 0 target will be the first row of the table. Case 1 will have the second row of the table and so on. When you do the switch, at runtime it will resolve what the switch value is. It will actually call the procedure at that particular row of the table. So, essentially it's an indirect. Well, it's not exactly a procedure call. It's actually indirect unconditional jump. You can think of it in that way. It goes there. At runtime it resolves the value and calls the corresponding. Essentially changes the PC to point to the content of that row of the table. Anyway, so for indirect procedure calls, of course you cannot put the target in instruction because you don't know. What you would usually do is, you have an instruction first to load the target into a register and that register will be used in your procedure calls. So, at runtime the value will be picked up from the register and we'll take the, we'll make the challenge. Ah, so here, yeah, sorry. Cases, values may not be sequential. Right, yes, exactly. So, it will actually have a mapping for that also. Yes, yes, of course. The actual value mapping to the number of rows. Okay. Okay. Okay. Yeah, so it will actually have a mapping for that also. Yes, yes, of course. The actual value mapping to the number of rows. The actual value mapping to the number of rows. Okay. So, indirect jump and procedure return. Second procedure return. That's also not known at compile time. Why is that? Where I should return. I have a procedure which I'm trying to compile and at the end I have a return statement. Do I know where to return? Why not? Exactly. So, there will be multiple places from where I can call this procedure. Right? So, depending on your execution, it might have to return to several other places. So, not known at compile time. So, you can use any addressing mode other than absolute because absolute is used only when you know at compile time. Okay, right? So, simplest one is register addressing. That is place the target in a register. That's what is used. You place the target in a register and use that register in your instruction for jumping. Indirect jumps appear when using a, so there it goes. Texts, virtual methods, function pointers, dynamically shared libraries. Somebody pointed out. Normally, the target is loaded from memory into a register at compile time. Okay. How big is the precederative offset? 10 bits seems sufficient in most cases. So, again, the question is, I am here now. I have a precederative branch instruction. What is the range? How far can I go? Positive or negative, right? Transfer of the 1024 is enough. In most cases, enough. So, 1024 this direction or 10B. So, the next component of the conditional branches is the condition, right? How to specify branch conditions? So, there are several ways of doing that. One possibility is to use condition code. That is test special bits set by the ALU operation. So, this is exactly what is used by x86. So, you would first do the ALU operation like suppose you want to check for greater than equal. So, you would first do the comparison. And depending on the comparison outcome, the ALU would set some flag somewhere. And then you will have a branch instruction, which depending on the status of that flag will either branch to some location or just continue. So, it creates an implicit dependence for the branch. And that makes your instruction reordering hard. So, the simple reason is that your branch instruction now would depend on the ALU instruction. Unless the ALU instruction completes, the branch cannot go. And the more problematic thing is that this particular flag that this ALU instruction sets, usually doesn't appear as part of the instruction. It's an implicit target. That oh, you should actually implicitly change that flag. That is the most problematic part because if a compiler is looking at these instructions and trying to reorder them, it can easily make a mistake. Thinking that oh, this instruction, these two instructions look actually independent. But actually implicitly the ALU instruction would change a flag with the branch instruction depends on it. So, all these things will have to be kept in mind when writing the compiler. So, found in x86, ARM, RPC spark. The other option is to use the general purpose registers instead of special flags. The comparison result is put into the one of the general purpose registers. And the branch will actually check that register before branching. So, here it's explicit in the instruction. The ALU operation would actually have this particular register as its destination. And the branch will have this register as a source. So, there is a very clear dependence between these two instructions. So, there is an explicit dependence found in MIPS and ALPA. And the third option is compare and blanch. That is, you fuse these two things together in a single instruction. Some flavors of comparison are fused with branch instruction. So, one instruction per branch instead of two. So, you save an instruction. You don't have to split it into two instructions. You can do it in one. But of course, what flavors of comparisons you can fuse with the branch will depend on the complexity of the comparison operation. Because you have to remember that I am now putting it in a single instruction. It better be simple. So, complicated comparisons may affect your CPI. And this is found in VAX. This is the Hewlett Packard's processor, the RISC MIPS ALPA. So, notice that MIPS has both of these flavors. And actually, we'll see both of these when you talk about the MIPS ISL. In terms of that, a large number of comparisons are actually against zero. This is probably the most frequent comparison that you would like to know whether it is less than zero, rather than zero, you know, rather than equal to zero and so on. And also, less than and less than equal to are very frequent because of the loop control. The loop control is usually less than or less than equal to. You say your loop, tell me if I is less than or less than equal to my upper bound. So, proceed your calls. So, what must happen on a call? So, some of you probably already know what has to happen. The most important thing that has to happen is you need to save the return address somewhere so that you can come back to the right place. Normally, it is a dedicated link register or some arbitrary general purpose register. So, this particular term is used in the MIPS world, the link register. So, I want to introduce you to this. And we'll actually use this also later in the course. But anyway, the point is that there is usually a dedicated register or you could pick up one of the general purpose registers and put your return address there. Also, you may need to set up the parameters that are going to be passed to the procedure. Some architectures implicitly do this as part of the call while most generate explicit code for this. So, some of the architectures, for example, MIPS would actually generate explicit code for doing passing the parameter. And exactly how you pass the parameter will depend on the architecture. We'll talk about that later. So, you may want to pass the parameter through some register. You may want to pass the parameter through memory. So, you can do many other ways. The caller meaning that from wherever you are calling the procedure may want to save some registers so that the callee cannot destroy it. By callee, I mean the procedure itself. So, for example, I might be doing some computation and now I need to call a procedure. But I will require this computation after the procedure. So, I want to save the registers where I have the results of this computation. So, this is known as caller saving convention. So, the caller before calling the procedure would save whatever is important. Symmetrically, you can think of a situation where the callee may save any register that it wants to use in later point of the procedure. So, what may happen is that caller says that well I don't care. So, let the callee do whatever it needs to modify. So, the callee before starting it figures out these are the registers I will probably require to modify. So, let me save them first so that I can restore them at the end of the procedure. So, this is known as callee saving convention. So, both of these are fine. You can use mix of them. So, caller may save certain registers, callee may save certain registers and so on. And of course, it may be hard for the compiler to decide what to use because often you learn your compiler course that inter procedural analysis is hard. So, when you are calling a function, it may be very difficult to figure out what are the registers that the procedure your calling will actually modify. So, that may not be very easy to figure out. So, most architectures offer both today with clearly specified caller saved and callee saved register saved. So, what happens ultimately is that to make the compiler's job easier architectures actually specify I mean especially. So, I am talking very much in terms of MIPS here x86 actually does not have any of these notions. In MIPS architecture what they say is that I have these four registers which are caller saved meaning that before you call a function the caller has to save these four registers. In other words the callee is free to modify these registers without even worrying about anything that is what it really means. Similarly it would also have a set of three or four registers which are callee saved registers meaning that the callee before starting the procedure will actually save these registers. So, caller need not worry about these registers. And which in other words which he says is that the callee saved register contents will be restored at the end of the procedure. So, the caller can if it wants to save something it can use these registers. GPR is combining both of them callee callee plus something. Yes, this is the most flexible one this is giving compiler full freedom of picking whatever register it wants to be. Yeah, exactly. So, combining all these ideas essentially what you finally want is an instruction encoded. That you have defined certain instructions you have already defined you know what instructions would have what operands and how much of displacement you would require what addressing modes you would require. And finally what you want is the encoding of the instruction that how many bits I should have in instruction. What fields my instruction should have and so on and so forth. So, it has implication of code size, memory requirement and power. All instructions have an opcode field specify the operation. So, this is mandatory. So, when you have an instruction you should have an opcode field which says what this instruction is. Is it an operation? Is it a branch operation? Is it a load operation? What is it actually? Important decision is how many bits for addressing modes. Because this one is easy you figure out how many instructions how many operations you want to support log of that would be this. This many bits would require for the opcode as simple as that. How many bits for addressing modes also number of registers number of addressing modes and total number of operands in instruction have significant impact in code size. Because number of registers would determine how many bits you would require to address a register. Because log of that would be the number of bits you would require to address a register. Number of addressing modes would essentially decide how many bits you would require for a displacement or any other encoding of the addressing mode. Or even in the worst case you may have to do the following that you have so many addressing modes that you will have to reserve special bits to specify what addressing mode is this. Like if you have 32 addressing modes you have to actually reserve 5 bits in your instruction to say oh this is using that jumbo mumbo addressing mode. So those 5 bits will have to be there. And total number of operands will of course will have to go in the instructions like for example if you have if you decide that oh my instructions are going to be very long it is going to have 6 operands. Even if you have 32 registers and all the operands are going to require 30 bits to specify these operands. 5 bits each you have 6 operands. So there is a limit on this that you know how many operands you can really really encode. Of course it is always good to have large number of operands because that means you can execute complicated instructions in a single instruction. So overall you have to weigh all these things with the CPI. And as I told you the usual method is that you can finally filter out 2, 3, 4 candidate instruction sets. You probably have compiler for all these 4.  See the final performance and decide which one finally goes. Too many operands and addressing modes may necessitate separate address specifier field for each operand. For example what mode is used for this operand. Oh yeah so this is another thing. You can have actually cross product. You have 6 operands. You have 32 addressing modes. You can say operand 1 uses addressing mode 30. Operand 2 uses addressing mode 25. So you can actually think of this cross product now. So now that very quickly explodes your instruction size. So x86 has all these things actually which is why x86 actually has variable length of instructions. Instruction length is actually not fixed. With few addressing modes that can be encoded in the opcode itself. Usually this is what you really want. So you can have, you can say that well I'll have 2 addressing modes and I can have if I have 4 load operations I'll just have double the numbers. I'll have 8 load operations and I'll actually have opcodes for separate addressing modes. That's easy in fact. So one more thing that you have to decide at this point is whether you're going to have a fixed instruction length for all instructions or you're going to vary the instruction size for different instructions. So fixed length instructions have a fixed number of operands like your classical 3 operand instructions and a few addressing modes 2 or 3 that can be encoded in the opcode. So essentially the point is that all my instructions are going to have a constant length. That helps the instruction feature a lot because it knows that if I fetch 100 bytes I can calculate how many instructions I have fetched because I know the length of each instruction. Also a fixed length instructions sacrifice in terms of code size to gain in terms of complexity and performance because essentially what you're doing is that you might be wasting bits to make all instructions of equal size. Because what may happen is that some instructions you could actually encode in with smaller bits but you'd actually increase them to this boundary to make sure that all your instructions are of equal length. But of course you gain in terms of complexity and performance because now they're easier to decode because you know that oh I have fetched 4 bytes which means I have only one instruction now I can start decoding. On the other hand if you have variable length instructions you have to keep on fetching until you have the full instruction and that's very difficult to know when you have a full instruction. So variable length instructions for example you have x86 having 1 to 17 bytes of instructions you can have all possibilities actually. Required complicated decoders offers a lot of addressing modes and produces very compact code so that's the advantage with fixed length encoding. So x86 essentially say that well if I can encode an instruction in a byte I'm going to do that. I'm not going to increase it to match some constant length for everybody. And also it's possible to do a hybrid encoding like your ARM thumb and MIPS 16 offers 16 and 32 bit encoding. 16 bit encoding is used for instructions with small medians, a subset of registers and 2 operand format. Whereas if you want to support more operands, bigger register number you'd switch to a 32 bit one.


Greetings, Laddingtons! Today I thought to explain exactly what a juicy pale orchid is. But first, I'd like to give a shout out to Viking Jewelry. You can check out their product, first link in the description box below. And if you fancy this elven bracelet, you can utilize the code GLORIOUSLION30 for 30% off during the next 72 hours. And for 20% off the rest of the product, except for the first line, since that is not made in Europe, you can utilize the code GLORIOUSLION20. Do check them out, they do have some cool items indeed. Obviously this one, an elven style bracelet, I thought that was most suitable for me. Anyway, on to the topic at hand, which is exactly what a juicy pale orchid is. So the story is that when I saw the Hobbit films for the first time, I thought everything was so great in it because as a hardcore Lord of the Rings fan I was so hyped before, during and after. And I just thought, yeah, the films were great. I still think they are good. Obviously not on par with Lord of the Rings, but you can't really compare anything to Lord of the Rings. So anyway, I saw the film and I thought the juicy pale orchid was testosteroneous and epic in that sort of way. There is especially one scene where he stares down another orchid who rides, comes at him on a varg. I thought that was a cool and high thumos scene. So anyway, there is also another take on what a juicy pale orchid can be. So I talked about elves a few weeks back and I talked about an elven aesthetic that I always tried to have an elven aesthetic. But for certain guys they don't want to go along the path of an elven aesthetic and that's completely fine. Remember, for a man it's more important your capabilities and abilities rather than what you look like. So something to keep in mind at all times. Either way, so if we're talking about someone who wants to go along the path of a certain aesthetic but perhaps he's bald, then he can say to himself, you know what, I'm just gonna be a juicy pale orchid instead and ignore the fact that my hair is falling off. And you can look like Jason Statham or something like that, some high testosterone guy. Or if we're talking about Physique, someone who does not cut for summer and says I just want to be a juicy pale orchid. So someone who is perhaps a strongman or a power lifter do not concern himself overly much of the aesthetic side so he doesn't cut down, he's gonna go along the path of the juicy pale orchid as being testosterone-ous going after it. Another thing, and I will quote my friend Identity at Svea, he said something really profound in an Instagram post a while back and he said, you can choose but you cannot not choose and this is exactly what I try to promote as well. You can choose, in his case it was between Bane and Brad Pitt in Fight Club. You can choose, you can choose one of them but you cannot not choose so perhaps you want to go along the path of bulk power strength or perhaps you want to go along the path of being a bit more athletic. Both ways are completely fine and what I try to do and my wishes is that I can push some of you into training so if I reach someone who isn't into training already and I want to push you along a path but you can choose the path yourself. Whichever path you take it's up to you but I just want you to start on it. So if I say set the pace high to all of you lads, some guys might go along the path of regular gym training just getting strong and aesthetic, some guys want to go along the path of strongman or power lifting some guys want to train in MA, some guys find a local Thai boxing gym, some guys fall in love with Brazilian Jiu Jitsu. All of these ways are completely fine. The most important thing is that you choose one of them. So same thing when you choose your aesthetic, just go for something. Go for it, be a force of nature, be high thumos, be high energy and just choose something and go for it but what you cannot do is you cannot not choose. And also it again on the mentality of the juicy pale orc.  That is what that means. So it is a bit heretical of me, I know this because obviously the orcs are the enemy and the men of the west and the elves and the dwarves are the good people but I made an exception there because that was also before my time of supreme enlightenment. But yeah it is stuck with me anyway. So long story short, set the pace high, be testosteroneous, go after it, set up your goals and go after them. So thank you for watching and who am I? I'm the juicy pale orc, XXO. BOOM!


London directing, so I guess that's all. You know, talking about political plays, you know, you're, well, we have a long conversation, but we'll do aspirations for plays in Africa. And, you know, there were some people in the audience that asked for context. So would you put, like, Ghana and Africa in general in the context of that time, and we're talking 1961, right? Well, I don't have to say that in the black world, we have a lot of problems. And my own conviction is that there's a need for more interaction between Africa and the diaspora for us to be able to solve some of these problems. Unfortunately, our history, the way we are brought up, we are not in Africa, we are not very conscious of the diaspora at all. Well, what we watch on television is what we see. We find many of our people who say, I'm a nigger, you know, very proudly, because they watch television and they see tough people being there. So, and also, it's only when we are outside of Africa that we are really conscious of being Africans. When we are in the continent, we are either Nigerians, or Ghanians, or Ibo, or Afsar, and so on, so much division.  Because the world is getting more and more, I don't know what the world is, but more difficult, more cruel, and it is the same to be weak. We are very weak, unless we come together. I don't think we can get far. And you find that this kind of Afghanistan movement began here, in fact, in America. Very strong, at rally with Dr. Du Bois, who was there, and then moving to London in those days, and then coming to Africa itself. In Krumah, was educated here in America, Lincoln University. They went to London. In those days of the colonial situation, we were not free then. It was in the 1960s that this independence movement began to make meaning, and many countries became independent. The first country to be independent was Ghana. It was called the Gold Coast then, but they changed the name to Ghana. And Krumah became president, and one of the things he did was to encourage blacks from the diaspora to come over and participate in development of the country. So there were a lot of African-Americans who came to Ghana in that first decade of independence and who were very active in their life. Unfortunately, Krumah became more and more dictatorial because there was so much opposition for what he wanted to do. He wanted to build a very strong independent country. In those days of the Cold War, he was very identified as somebody who drew a lot of leaning towards Moscow. And so the CIA was against him. So within 10 years he was deposed, and a west-fam-friendly government came there. But in those 10 years, there was a remarkable progress. And a lot of unity between the African-Americans and Ghana. So that's actually what your play, the moment of your play is really just the beginning of the new Ghana. And in that period, all of these African nations were getting their independence, as well as the civil rights movement was kind of growing through its heart. So there was like a great deal, a great deal of hope for the black world. People identified themselves in a larger, collective way. But there was that play deal with that moment and these three young ladies who would become literary giants happened to be the same place at the same time. This was remarkable that these three women were very young. They had not really begun their literary career. And yet when they left, they rose to become very famous figures. How are the case people watching?  The Maya Angelou, the Marish Konde, who won the nobel last year, who won the nobel if there had been cousins. And then if one certain land will be less known here, she was getting in. That's very important in the literary movement in Ghana. In the beginning of African drama, she was very, very important in this. She tried to use local traditions to develop a new kind of theater and so on. I was interested because I'm doing three plays on this issue, on this issue of the African diaspora, the meeting, how we can... So I'm doing three plays on that period. And the first one was on Dr. Du Bois, who died in Ghana. Then this time I thought I should look at the female aspect of this. It was looking at it that I found remarkably that these three women were in fact there at that time, but participated in that experience. Unfortunately, they didn't write much about the political involvement. I don't know whether that was strategic, but they did write about the personal relations when they were there. So this is just my own story on these three women there. I don't know what the degree of involvement is in the story of them, but I just imagine the kind of people they were. And how about you, Francis? How about the context of the Haitian Revolution? I think people... You know, there were a couple of people asking the other night about the context. And I think what they meant is that in the history of the New World, there was the Haitian Revolution. Well, it started in 1791, and we gained our independence in 1804. Most of the world was still... The slave trade was still happening. And I mean, a lot of the way that Haiti has been regarded since then has to do with Europe and America and a lot of countries not wanting slaves to insurrect the way that Haiti did. But it also... The Louisiana Purchase happened as a result of events in the Haitian Revolution. Frederick Douglass was an ambassador to Haiti for many years. There's a little bit in my play about Toussaint-Riverture's relationship with President Adams and then President Jefferson. President Adams was very supportive of the Revolution, and Jefferson was not. So we've been very connected and in conversation with the rest of the world, but there's definitely been a deliberate effort to marginalize our country since then. And it's tragic. But I mean, I just remain so inspired by that event in Haiti because it's really remarkable what was accomplished and the impact that it had on other countries that it eventually led to a lot of... I mean, France during the Haitian Revolution, was not only abolished slavery in Saint-Domingue, but all of their colonies, they abolished slavery in all of their colonies. And so when Bonaparte took power and was threatening to re-establish slavery, Louverture and Dessaline and the people of the Revolution, they weren't just fighting to maintain freedom in Saint-Domingue, but all of the colonies where slavery had been abolished and their plan was to continue helping other countries. So I mean, I don't know if that answers your question as far as context with the rest of the world. I think so. No, it was other people that kind of asked a general question. I mean, I think there was a threat.  I mean, we're a lot more slave, we're votes than history would like to... That was just a bad example. You know, that's the kind of thing that you don't have to be put down. And even the perception of voodoo and indigenous spiritual traditions is a result of preventing any more insurrection of the other slave colonies and you know, like Brazil has its own version kind of like all of these countries, Santarí and Cuba, like they all have their own versions and they're mostly regarded as evil over witchcraft and that's why. Well, but if we don't look at those things like what we would call voodoo in Santa Tarea and what they do in Brazil, it's very much the same thing. It's an African thing. Exactly, but that's what I'm saying is that European and American slave owners they perpetuated this idea that it was something evil and really pushed Christianity because they didn't want blacks to gain that power because they gained a lot of strength and power and it was a way for them to stay connected to their African roots and so that's where all that came from but then it gets passed down because you know when I was growing up, I grew up in Miami. I mean, the way people regarded voodoo is one thing but then I mean I'm black, I think of myself as black but in Miami people didn't, black Americans didn't consider me black they were like, she's not black, she's Haitian, whatever that means and Haitians were really regarded very negatively. This history is not taught at all. It's not taught at all, it's not taught at all. I mean it wasn't taught at all in school when I was growing up in America at all. I don't think it's being taught now. No, it's not. You mean the history of the history that we're talking about. No, it's not taught. Well, you know, there's history about it that explains a lot of things and that's why it's extracted from history. I think I mentioned this somewhere in the other day that just was in the Guardian Deck, the British abolished slavery in 1833. Well, it took a lot of while for that to happen before you actually got off the farm or got off the plantation but they borrowed, the British government borrowed money to buy out the slaveholders. It wasn't reparation, it was like buying the slaves at exorbitant prices for the landowners because slavery made, and I think this example is giving me an idea of how much money slavery made. It took out that loan in 1834 and the loan was paid, guess what, 2015.  I just saw something funny on Twitter the other day that said black people should never have to pay for anything made of cotton ever again. So, you know, so the scope of that, so if you look at history from that lens then you see different things, right?  And our connection to each other, you know, a lot of the maroons came from Jamaica. You know, we were all connected, everybody in the West Indies. A lot of the slaves in Haiti in San Domingo were directly from Africa because the conditions were so harsh that the lifespan was very short. So there weren't that many slaves who were born in San Domingo who were constantly bringing Africans. So it was predominantly Africans. I think that's one of the high points to get back to your very first question about the experience we had in Casiz was that we were able to share that, you know, not just as descendants of these slaves but also as artists. We could share our experiences and it was a revelation for me in many instances. And this for me brought about the question of how complex the idea of diaspora has become. And I often question myself, like how long does a society need to be, or a group of people need to be referred to as a diaspora? Would we not sort of integrate into different cultures? Because the problems with diaspora would be, the idea of a diaspora would be multiple identities. The diaspora versus homeland or nationhood. And I think about the situation of Brazil, for instance, where it's taking over 600 years. But then you refer to Africa as the homeland and the cultural production from the Afro-Brazilian society has been included as part of Brazil's national cultural heritage. So on the one hand you have diasporic consciousness and on the other national cultural identity it's sort of antithetical to each other but then they operate in parallel lines. It's kind of an interesting dynamic. So I wonder, would we then have a perpetual diasporic existence? Would they ever get to a point where we are people other than the diaspora? Say 500 years from now. Can we be both? Yeah, that's what I'm saying. It comes up with a lot of multiple identities or dual identities. You have to ever have anyone who's a diasporic individual now would probably be in possession of more than one or two passports or three passports. And then you find yourself shared in several homelands, several continents in a way. And then you think about it. How would this play out in maybe a couple of years from now? Because in the case of Afro-Brazilian religions, I studied connoble. And I found it very interesting that connoble which was initially discriminated against and criminalized. It's a religion. It is a religion. It's like a variation of the voodoo from Haiti and Santorini and Cuba. Initially it was criminalized for the same reasons she mentioned. And over the years it was accepted as part of Brazil's cultural heritage. And now I find that there are even people who are practicing the religion who are not of African ancestry and who refer to Africa as a spiritual homeland. So it's continuously... That's the thing is I've always said that America is a cultural colony of Africa. Most people are diasporas. If you take Africanness out of a lot of world culture, you wouldn't have very much to it. So there's these kinds of intangible things that kind of make us... Like you say, the religions like Santorini and stuff. They seem to emerge out of groups of poor people. It's not like they're communicating with each other about how we will worship and do this thing. These things just kind of happen. It grows like weeds or spread like a virus in this kind of Africa this thing. I was just going to say that issue, interestingly enough, has not been dealt with in Africa itself. Until we did the whole slave experience, it's probably the lightest collective experience we've had. But it has not been dealt with in Africa itself. And some of the things that we were talking about, the religious revival and the rest, if you came to Nigeria, you may even get bonds by fanatical Christians and Muslims. But it's the same in Haiti too, like notations and photos. Because this thing is evil. It's pagan. You're not supposed to recognize any of these deities. And so, it's interesting. What's happening at home, some of this, of course, has very changed. But we haven't until we actually deal with this. Seriously, there were slaves who stole the slaves. What is happening today in contrast to what happened before? We really need to deal with all these Jews in Africa itself. We haven't dealt with this question. Well, you know, it's not universal, but in my time in Africa, people were very welcoming to me. And it seemed that there was kind of like a caveat that I was one of the last ones. And I was like, sorry, you know, in 81 before this. So I think it's a lot about preservation too, like when you're talking about the diaspora, because I mean, I can speak more for Americans, but like I've had people tell me, because I identify as Haitian American and like I had, when somebody asked me, well, when are you going to drop the hyphen?  But I don't, and I'm an American citizen, but I don't want to, because I feel like it would take maybe two, three generations before my descendants don't know anything about our culture. I mean, but by the way, it's been enforced so much that it's going to stay, that's what I mean. I speak for Brazil. You mean the hyphen? Yeah, like the hyphen-nated identities are for Brazilian. I mean, there's so many people who have adopted it who are not African ancestry. And this religion has transcended racial barriers to open up to just about anyone. Once you accept the idea of your cosmological beliefs, then you're... You're good to go. Yeah, you're... I think it's very different here. Don't you think? What? It's very different here. Oh, you mean the way people pack the sanitary? Not sanitary. I'm just talking about the connection to the African... Continental? Yeah. And maybe because so many Americans have been here for so many generations and they don't know where exactly they come from, they feel like their stories started here. I don't know. Well, Brazil has been a back and forth like this because after the slave trade was abolished in Brazil, they were the last... That was the last... Yeah. In 1888. The last slave real. But there were still a couple of Yoruba people who went back and forth just to get knowledge.  But he was going back and forth and getting knowledge and which they do to this day. And they have that connection because I thought the idea of a homeland was illusory because there are a lot of contingencies that happened after the slave trade. A very big one called colonialism that has wiped the idea of this kind of religions and beliefs from most African minds. So for Brazil, it's really very... It's very strong. It's really vivid. It has infiltrated almost everything from music to food to literature, movies, everything. The national dish for Brazil is the feijoada, which is a soul food here, like we're talking about. And there's this essay that says soul food cannot be feijoada because in a place like the U.S. cultural dish from a minority can never ever be a national dish. And I think that's the thing is that... I was just talking about this with some other playwright friends of mine not too long ago. And because slaves in America were so disconnected from Africa and they were separated, people from the same tribes were separated, they were separated from children. So they eventually... We had to create our own culture. Black American culture is its own specific culture. But in America, black Americans have never really had true equality. We've had to keep fighting. So I think it's different when you're in Haiti. It's a black majority nation. So there's not that sense of having to really create and guard your own identity and your own culture. It was already there. It's been... There was this eradication, this deliberate destruction of having you hold on to that identity. So the consequence is that we, as black Americans, created our own, our new culture. So what my friends were saying, it's difficult to start thinking about their connection to where their ancestors came from. Because they've had to fight to create this culture here and are continuing to fight. I think that's kind of throughout the Atlantic Basin. And I think that what I mean by African American culture is created by black people. Because part of the mechanism for social control is... It was like playing. They just didn't put people in chips together. They made sure they were different languages. So they couldn't connect with each other and revolt. Practices that you had... It was their intention to erase, in a generation, practices that you repeat over cultural practices. So all those people, all those people in the hemisphere, whatever they made, they made themselves. Now they must have covered it together from self-stuff. I mean the people who were like, you're Ruba, right? The French said, well, you can go to the Catholic church, right?  It's just like back home. They appropriate it out of the way that history interprets what we do. It's imitation, right? But we're human beings. We're cultural animals, right? Spiders make webs, bees make... People make culture. And that's why I think Afro-Atlantic culture is so many. Because it was created in an environment where culture was denied. Millions of us, which is probably... Probably no work anywhere like this. So I think that is... I think there are the distinctions in that phenomenon. That's what happens in Bahia. I mean even in modern day, you know what I mean? If you travel around, you go like, whoa, didn't I just see that? And how does that... I mean in art, for example, that phenomenon, like people like Robert Farris Thompson has been studying pretty good. Like Congo sculptures where they be doing that, whatever that means. Whatever that means, all kinds of stuff like that. But you know, well, you see that in the language. You know, or you know, or sort of kinds of whatever. You couldn't carry the objects, but you could carry the meaning in your body, you know? I mean, and I just think those things... There is the oppression. And then there is what black people manifest out of the oppression to deal with their trauma or heal themselves. That's the thing which I think it's all wrong to... Thank you. Say something about the cameras right now. You said the other evening you used an example of a stick that you saw somewhere, you know, that was an old guy who got caught in a stick. And that's the same image that would have been carved some years ago. I thought about that. And another example, I was in Ghana some years back and I was at a museum. And there was this video of Michael Jackson dancing. But it was interposed with another image of African dance. And the similarity between what you saw in terms of movement was just amazing and they did it deliberately to show you how similar those movements were. So I'm fascinated in how we carried over this dynamic, this unconscious gene. Yeah, yeah, yeah.  And the situation for, you know, my family's people is that they were probably bought from the Green Coast, right? Because they cultivate rice. The Europeans didn't know how to make rice. But the South Carolina sea island with the marshes was a perfect place to grow rice. So, you know, the language is Gullah that people talk about, which is like a combination of English and some Timney and Mindy words from that same coastal place. So growing up, you know, people were speaking that in the house. You know, there was just like an African thing. So it wasn't like an abstract idea. You African, that's it, right? That's the way it goes, you know? And so, yeah, I guess it sort of... But, you know, going back, you know, when I was in Africa, in 81, when I went to Freetown, because I had to go someplace where they spoke English.   So I went to Freetown and I could understand what people were saying, you know? And it was, and I realized this must have been the great cause, because it's just like the color that I heard when I was a kid, you know, which I thought is just like evaporated from my mind, you know? And so, you know, those people carried those remnants of language and stitched together and made something which was, you know, comfortable to them, you know? Culture making. Perhaps you guys would like to join in on the conversation? No? I have a question for friends who said, I think your play was very well researched and I wanted to talk a little bit about your process of like researching and writing, and clearly write something like researching and writing at the same time without it being like that. Well, there was definitely a period that I was just researching, especially before I started part one, to try to put things into context. And I remember early on, one of my main sources was the Black Jacobins. It was very dense. I mean, it took me like a couple years to get through that book. But sometimes, you know, I'd read about things and like the character of Valentine came to me out of something that I read in that book about during the French Revolution when a lot of people from France were coming to Saint-Domingue. So there was a little bit of crossover because I would discover things and make a note. Like that could be a character. That could be an event. But I, for the most part, started with research. And once I found my two Cecilia and Valentine, then I felt like I could start to craft the story. And then part two, I went back to research because I knew part two was going to be, there was going to be a lot of focus on Louverture and Dessaline. And so I, it was kind of a lot of back and forth. I created my own timeline of all of the event, the historical events. So I would refer back to the timeline that I created. The events that I thought were important in terms of not necessarily the history of the revolution, but events that I thought were important in the art of those characters. So I kind of had to rearrange things. And some of the events that happened in the play, I kind of rearranged the order because I was thinking more in terms of the character art as opposed to the history. But it's been difficult. It's not easy. There's a lot of back and forth. There's a lot because there's a lot to remember.  And especially when I would get caught up in, when the creative process stopped being fun and started feeling like Le Bourgue, it's, I would stop and go back to the history and to get re-inspired and re, just to connect with the feeling that I had when I first wanted to write this play because I could really get caught up in the process and then it just started feeling like a homework assignment or like, am I gonna do this? So I keep going back and forth to get that soul connection again. I don't know if that answers your question. It's both synthesized. But I don't know if there's one way to do it. I think, you know, every artist will find their method. Yeah, I, um... Can you introduce yourself? I'm Mary Moore-Eastern. I'm a political dancer. And I, um, there have been two mentions of the present and the future and the ways that, I mean, we know many of the ways that reflections on the past will apply, but, um, Ms. Javo particularly has, um, seen Diaspora as, um, has explored Diaspora as something of people who are much older, all right, and who are living into the end of their years, all right, which seems to me to be the present and the future because they're not in their places of origin as part of the story. And the end of Fermi's play proposes, um, a different, a different possibility instead of simply tracing the outcome of, um, past practices. Uh, with the women dancing, I mean, and there's also this, there's a question in here somewhere. I'm gonna get to it. Um, but there is the possibility of choosing a different outcome as the creative artist. Um, and there's a line in yours that says it's not going to end in the same old disappointing way because the playwright doesn't want it to. I was given permission by, by your saying that stuff. I sort of wanted to follow up on that idea of, um, the present and the future in, in the terms of what is, what we are investigating and uncovering in the past. Some of us are uncovering it for other people from whom it hasn't been uncovered. Okay, but, um, does that spur any responses? Yeah, what was the question? Yeah, what was the question? What was the question? There's a future about, I guess the question was really about um, how to represent um, these stories of the past moving into the present and the future. And there are choices to tell what actually happened or what you surmise came out of it. Um, but it seemed to be that your choice was to invent a new thing based on the women and then the women are dancing in a new way and it's going to have different meanings and then we all get up and we demonstrate, the audience actually demonstrates that. So my question is to talk about that. That's a choice that you made. It's like naturalism versus realism. I mean, I mean, I have two thoughts about that. I, I, I do believe that the work that's been created invites the audience to think about the future. Even if it's, you know, my play is all in the past, but it invites the audience to think about what is possible. Right? Um, and then the, you know, the super answer, like, for me I've talked about part three, my intention in part three is to move, jump way ahead 100 years from now because I've had that experience in researching the Haitian Revolution almost every documentary I've ever seen ends with now Haiti is blah, blah, blah, blah and it's very hopeless and I don't, I don't want that to be the end of my, I want the end of this trilogy to be about what is possible for Haiti in the future. Thank you.  It's not a history play. It's a contemporary play. Right?   Right? Because, you know, two people experience an event. You know, me and Chuck experience something.  So this construct that we have of history of whether it's true, I think, I think as Americans in particular we're pretty, like, lazy about it is, about what. Like, for example, France loses doing, you know, as a, with a historical construction. Right? It is through her eyes, you know, looking at, like, a past event. So it's something else of history. You know, or a commentary in history. And it's, unlike a history book, it tries to derive, it's happening in the theater, so it tries to derive consensus. So, I don't know, it's a little different. I wish people would maybe be history to receive it as plays in that way. What really is history? History, you know, there are very many versions. And it's the conqueror, the one, the victor who writes history, who tells us what history is. You know, with the big age. But we know there are several histories. And I'm always trying to do those things to interpret history from the side of the losers. You know, from the, I want to describe it as history from the lower side. You know, the victims have their own version. Particularly we come from it, colonized for a long time we were chanting long live the queen who are weaving the flags of great detail. That's what the history was. Now we are in recognition. But in fact I am only interested in that rewriting as much as it empowers the present and helps us into the future. So my interpretations are also very much you know, affected by the current debate that's going on. In Nigeria now, a lot of talk about the role of women. Women in politics you see that in South Africa half of the cabinet now is female. You know, there's still a lot of resistance to that in Nigeria. Some of the females who have participated in power have been great looters. Robbers. Thieves. But just a few and there were agents of certain powers there not acting dependent in certain cases where we have had independent women they've been very exemplary. Very very strong and positive leaders. So you see here I'm trying to also get into that debate that women should you know, also we're giving prominent roles to let them take over power from all our male so that context in which you see that play. Thank you. I have a question. I wanted to ask you about your choice to be in theater. Do you choose theater or do theater choose you with the different works you're doing? You're all doing to my gears social training or social justice work. Why is it that you're in our business? I could say I've always been fascinated by alternative ideas to what's what's obtained and the manner of dialogue and writing stories the way one would want to have them and for me writing comes easier than it's my most favorite way of communication and I always like to put alternative events on paper that way this way could it be that way for instance it's just simply that and I'm just fascinated by dialogue and what dialogue could do in terms of how dialogue can take on different forms in terms of theater and I've always been interested in theatrical productions and have been inspired by then your show actually he's the reason I am a playwright because I was first fascinated by his style of writing weaving mythology with contemporary issues and how he would put in music and the musicality of his language too so I'm really honored to be on this panel with him actually because I've looked up to him thank you I'm also very proud to be to see that something I've been able to influence something that is so good and so which is almost new talent so I'm very proud as you measure this I'm just here for the money I feel like it chose me because it's a peculiar life to be a playwright and I started as an actor but it was really just so random how I ended up in an acting class at 11 years old anything about it I had never seen a play but my friends were doing it until I did it and I fell in love immediately and I loved performing and when I started writing I was a big daydreamer I had a lot of fantasies and when I started writing plays it was like oh those are people and characters so I think it was meant to be and then I talked a little bit about this during the talk back after my play but when I started writing plays in a few years after I started writing plays I started really deep diving into my own identity as a Asian American and that's when I felt really driven to tell our stories because I grew up in America I never saw anything about Haiti on TV unless it was something negative on the news it was nothing, it was never mentioned in school, it was never any movie like we did not exist so I felt like well this is what I have to do we exist I kind of tripped into theater since I thought I wanted to be a lawyer and then I realized that acting was parallel to being a lawyer as well to some extent but I learned on my journey in the theater that theater could be a powerful tool for changing society and when that hit me that notion hit me audience members who would come to watch a play and they talk about what they seen, some even said that they reviewed behavioral patterns that they had and they thought differently about what they could do on one level but then I got more involved in the area of theater for development where we actually went into communities and I was able to see communities transform at the rehearsal of a play that's theater with the people by the people and for the people where they become the agents of change by performing a play themselves and you become more or less like a facilitator but they're performing about issues in their lives whether that's a road that needs to be transformed or whether that's the issue of female circumcision whether that's the issue of poverty, education, health issues that go on etc and I've actually seen communities take their own power back and make change, substantive change in the community so that's what keeps me in there, the fact that I know that it can have that impact my mentor Walishenko once said something to the effect that when we have the opportunity to arrest eyes and ears it pays sometimes to put something in front of them and let them know something about the solidness that exists around us and I firmly believe that I think that we have that almost as a duty to do as artists let me say that when we talk of theater the phenomenon we grow up with is totally different from what we're doing here nowadays the growth of film and video and a house a bit tempered is done but in on stage in Nigeria this is where I come from the audience is an active participant they're answering back singing with you so it's not like here you listen politely and after this show that so that kind of experience is very fascinating you get into it again and again having the audience talk back the audience doesn't wait till after the play to tell you whether it's good or not they can stop the play and I have had very interesting experiences acting one of Moulien's plays for instance what the title again he won the adaptation it was the where the woman is deceiving the man so much cockled in and then but he is so stupid man he has to beg her and all that she goes up to and then he has to beg her to enter the house and she insists that she must go down his knees and I wanted to go down the audience and said no he must much and that was the end of the play he hide him within the audience at the point and the man comes and they don't say but he's here he don't care about your so he really gets theater that way really what makes for what we call the theater for development which we are talking about we go into communities and you can really influence the society because they see you they learn immediately they participate and so on well so this question of this new theater we are trying to evolve which deals with words it's really it's not really a real practice there there's music there's dance everything total theater in our own experience and that's what we've been trying to to see how we can modernize and put in modern stage and so on so that that's the fascination with it we're trying to generate a bit of that at the end of when it's played by inviting the audience to become a part of that journey of the women in dance as well so that participatory nature in fact this is so good because the number of my plays the ending is decided by the audience the actors don't decide themselves we have the audience to decide and they tell us what to do but it's really very entertaining I was kind of wondering that it seems like in a lot of the plays from this weekend and a lot of the new years that we get is people here in America but almost feels like we are a abducted child trying to find our way back home we're looking and searching for our history we're looking and searching for our ancestors for the people who gave us life gave us our culture how that culture was so deeply embedded in our genetic history I don't see a lot of I spent a little bit of time in South Africa after Mandela was elected president where South Africans welcomed black Americans welcomed our money welcomed our interests but categorized us as Americans and not necessarily their brothers or descendants of a sort of long lost family welcomed home so my question is Femi and Carly talking about looking forward looking to the future in terms of that what do you see as necessarily generating from Africa generating from South America generated from the Caribbean in terms of they are looking to bring us home they are looking to show us some sort of light or some sort of way or some sort of pathway to if not repatriating but welcoming us back because I see a lot of us reaching out but I don't see a lot of that coming this way yeah I think it seems to me just the opposite you know I don't I don't I don't know I mean first of all I think when I I guess I was looking for I went to Africa in 81 I went by myself I got a grant and I took a plane to the car and I just started walking just searching through my roots I guess it was pretty kind of crazy but so there I was looking in Africa looking for my African identity and what I discovered was how much of an American I was and it was just like day-to-day cultural behaviors like waiting you know like I was in a car park and the brother got me a ticket I was going to go to Conakry and the guy said we'll be leaving in a little while and we didn't even like when it was dark well it didn't take me long to like you know like hey! what is the matter with this guy he's a little crying around sort of observing me so you know those are things which you know what happens that you you know there's one kind of culture that you grow up with habits of sort of kind of behavior you know and that there's you know so that's who I am I'm like an African American I can't go back that's gone I mean it can become something else and I don't mean that that's negative that idea of I think everybody experienced that I mean I did a solo show about that you run into people and say oh the same thing happened to me I went to Russia and went to Kiev and everybody looked like my grandmother and I hated the food so there is this even this quality that intersects which you know makes the whole thing kind of complicated as personal I had a different experience which enabled me to begin to see that you get out of an experience sometimes what you put into it right? I didn't go looking for roots I went curiously looking to for tools from my the roots of my culture in which I could use to embellish my craft as an artist so I went with curiosity I went to learn and over a period of time I found myself giving and taking from the culture there as well and so much that I was given a wife and two children from that soil so I married the continent as well in that respect but along the journey I taught I started a theater company and you just go it's give and take and I think if more people went with that notion then you'd see more of that reaching out but you had a destination you had a place to go you know the spot I mean you were Nigerian you came from America but you were a Nigerian going back there no no no no no no I went as an African-American whose parents from the south of this of this country and I went afresh I just graduated out of college I had this full bride ITT fellowship and that one year turned into 30 and that was because I went with a I think I went with an open slate with a clean slate I didn't go with any expectations in fact I went to find out more than I had learned here in this country about Africa because all you know is what like Femi said earlier what they get in Nigeria is what you get on TV and what we got here was the same thing Tarzan images of yeah stuff of that nature and I discovered that not only did I have to explore and learn more about that but I also had to debunk images of African-Americans two Africans in that circumstance so I think it's give and take what was the image of African-Americans one the black exploitation films of the 60s painted us as violent right our women were loose right so that how someone would approach an African-American woman there would be different as to how you would approach one of his own women on the continent right so you have to start cleaning that up and clarifying that you do that with your own character with the violence that you have heard here so I think that American feel like chef yeah I think it depends on the individual one then where in Africa you go yeah South Africa is different I'm going to Syria right it always depends on the kind of person you meet whether an educated person or an uneducated person all these people have different perceptions I mean if you read Maya Angelou she even talks about some people go there expecting we're going home and when they land at the airport they expect hello they're embraced and everything but the person you meet they come and he wants to rub you and then when he rubs you you're so surprised my brother rub you so it depends on what kind of person you are what knowledge you have of yourself and what you expect to get from the place I remember when I was teaching Emory for example I got some postcards from whom you know if a campus you know you know and the secretary of the department was asking where is this and I said this is Nigeria I said no it cannot be Nigeria I said but this is my department she didn't believe it of this black woman she never believed that you know you don't have such places in Africa and I couldn't for sure that even till I left said no this is not Africa because it doesn't pass even thought and as well as there is an Africa of poverty and so on which the some international agencies are expecting to get money from people the marketing there is this Africa of poverty needs school and all that and they don't tell the truth and we too in Nigeria we don't we get all kinds of ideas from films from television and so on of black brothers who have power length and go and all that so when they come the attitudes are different some people regard black Americans as lower class people you can't come and talk to us you are slaves anyway there is that kind of attitude also there and this why I said we are having quite debt with this thing in Africa the issue of what happened we made enormous money selling their people their own brothers and they were the leaders of society they were the rich and so on just as today some people are selling us to the international companies to the multinational and so on and making enormous money the kind of people that were referred to that this play were worshipping and they want to get rid of that so it depends on where you go your attitude when you go there and also collective level too when you talk about reaching out like with the practice of the Afro-Brazilian communities in Brazil I don't know if you heard about the king of the Yorubas the Oni of Ife who last year declared Bahia as the headquarters of all Yorubas in in America so so all of their practice has brought this about and then you have visits back and forth there's a delegation that's going back to Brazil from Ife and the Benin Togo Republic and all of that so more and more these connections have been made possible through the kind of reaching out or enforcing or not enforcing but just making these practices frequent and also trying to keep sorry trying to maintain the practices of their ancestors and this is not because they were expecting to get embraced or anything but this has come about just from the practice over the years and this has brought about newer relations between Brazil Nigeria, Brazil Togo, Brazil and West Africa as a whole so it's really interesting I want to speak to the I guess from an American perspective because I think it's a really great question and I know for example in Haiti I'm blanking out on the word but they created a word for people like me who are Haitian but didn't grow up in Haiti when they call you I forgot what the word is so you are othered in a kind of way but it's not that we're not accepted or regarded in like a negative way but we're different and you know I am different even as much as I as proud as I am of my culture and as much as I it's part of my life when I go to Haiti like I stick out and I grew up there my accent is not the same but I also wonder if excuse me so if the ten minutes are up just cut us off no it's okay oh yeah okay I also wonder like when I think about hip hop culture and how it's been embraced all over the diaspora and that was something that was created here by blacks in America but it's really been embraced all over the world and you know there is the it is true sometimes people like a thing about a culture but don't like the people but I think with because it's true but I do think with hip hop there is something about it there's a reason why it's been so embraced in the Caribbean like everywhere because there is something about it that speaks to us collectively so for me that is one way where there's been a reaching out I think there was a longing to connect with black Americans here and somehow hip hop tapped into that I don't know if that you're you're just making me think about the essential question that I heard coming up or a statement coming out of each of them and that is about what we do about the people who are in need of reclaiming their power this language of hip hop this language of the audience who helped to decide ending this language of of connection with all of these disparate parts of African community how is it that I guess what I'm hopeful is that these people who have invented so much are the ones to invent the language of reclaiming our I don't know how else to say not for abuse but to let live well I suppose I suppose that's what we're attempting to do in the theater I mean narratives are important and you know when people sort of create a new narrative that has more possibilities that things happen not everybody goes to theater but music is universal and I think about young brothers and sisters in Dakar we have this great daily news show it's maybe the most popular news show in Senegal and they're all about hip hop that's where they come from so the news is delivered with hip hop flavor and there's a whole new generation of young activists on the street who are pushing for an end to corruption who are pushing for a reinvention of democracy and democratic tools in Senegal and that's partly fueled by the power of this kind of underground media this is bubbled up it started up internet on TV like for real preaching the entire nation but they're also watched in Côte d'Ivoire and Guinea because the government can't completely suppress everybody's internet connection like if they try to people still get it on their phone and people who can't get it on their phone are sharing with each other right just on the street so there's that going on and we've had a feedback for a long time involvement in music from the continent and the caravan in the US and I didn't get into it because I could go all day but I did the DNA thing and part of what has resulted from that is relationships with cousins long separated and I'm in touch with them every day so in Nigeria and Senegal in fact over the last 14 hours 16 hours since I was last in this building most of my contacts have actually been with them via e-mail other than my wife and our total of these housemates that's where my conversations have been these last few hours so I feel very plugged in and they have regaled about how much James Brown and Parliament something like that growing up and amazed that James Brown wasn't drawing huge crowds here like he was back in Nigeria when he would visit the continent it was wrong with y'all anyway you know from Haiti and from Cuba had a huge impact on African artists and they fed it back and so in my senate law who was a hip-hop record producer you know it was him in the end of the day how much Nigerian hip-hop artists are having an effect on hip-hop artists in Brooklyn and Queens and LA now and there's a feedback feedback it's been going on for a long time it just hasn't been a broad international focus but we know in our community so to me that's one of the hopeful things about the future we don't have to invent this connection to the continent whole plot it's not like it ain't been there it has been there for a long time and it's a hopeful about the future thanks for that David that's exactly what it is that's exactly what the diaspora is and that's exactly how it operates and it is it is a feedback group well we're going to unconvene now what's next we don't know we're making this up as we go along so it was to explore our relationship we could share with each other we found it was really positive and we were really happy to share the outcomes with you guys and what happens next Camargo is not a producing organization so we hope to promote these places as much as we're able and they'll go out into the world they got some tough players and they got some tough riders they can take care of themselves out there that cruel world but you know that's what we hope for so we'll keep you posted so thank you should we just yeah why don't you sit close to him why don't you get out and scan let me see if I can get this nice


Hey everyone, it's Lizzy! Thank you for watching! Today's tutorial is three half-up hairstyles and these I think are a little bit easier to do, so I hope you enjoy the video. Make sure to like and subscribe and click that notification bell so you never miss a future upload, and let's get started! For the first hairstyle, I'm going to divide out a section of hair from above both of my ears again, and I'm leaving out my bangs on both sides of the part, and I'm going to smooth down any bumps using a comb. Then I'm going to divide the section into three smaller pieces and braid the hair into a regular three-strand braid. So I'm crossing the side strands over the middle strand, alternating between the left and right side strands until it reaches the bottom of the section. And now I'm going to go back over the braid and pull on the edges to make it a little wider so the bun will be a little bit bigger. And then I'm going to wrap the braid once in a circle clockwise at the back of my head and tuck the ends underneath the braid. Then using bobby pins, I'm going to pin the bun in place, so I'm just grabbing a few hairs with each bobby pin, and then I'm just going to slide them underneath the bun so they don't show. Use as many bobby pins as you need until it feels secured against the head. I probably used about four or five bobby pins. Then I'm going to go back over the style and detail it a little bit, so I'm just pulling on sections of the crown to add some texture and volume. And I'm also going to pull on small sections of the bun just to make it bigger and more symmetrical. And then I'm just going to use a medium-hold hairspray to smooth down any loose hairs that are sticking out from the bun and set the style in place. For the second hairstyle, I'm going to start this by dividing off a section of hair from above both ears. Using a comb, I'm going to smooth down any bumps in the hair and then spray it with a medium-hold hairspray to tame down any flyaways. Now I'm going to twist the section together towards the right side and set the twist against my head. Then using my right hand, I'm going to go back over the crown and gently pull on random pieces to add some texture to the hairstyle. This will help it look a little less polished and give it more of an effortless vibe. Then I'm going to pin the style in place. So using bobby pins, I'm going to just hook a few pieces of hair on the right side of the twist and slip them into the hair underneath the twist to hold it in place. And I used about eight or nine bobby pins and I just slid them into the right side of the twist from top to bottom until it felt nice and tight against my head. Then I'm going to go back over the style and continue to pull on small sections of the twist so it has a lot more texture and a more casual look. And then of course, I'm just going to use a medium-hold hairspray to smooth down any flyaways and set it all in place. This type of hairspray will help smooth down the hair without giving it a sticky or stiff texture. For the third hairstyle, I'm going to start by dividing off a section of hair above my left ear and I'm going to braid this hair into a regular three-strand braid. So I'm dividing the section into three pieces and I'm going to be crossing the side strands under the middle strand. I'm also going to start the braid a little bit lower on the section so the braid will actually start right above my left ear and I'm just going to work my way down to the bottom of the section. Then once I've braided the section down to the bottom, I'm just going to slide a couple bobby pins over the ends so it doesn't unravel. Now I'm going to repeat those same steps and create a second braid on the right side of my head. So I'm dividing off another section above my right ear and I'm leaving out my bang section and a little hair above my ear to cover it. Then starting a little bit lower on the section, I'm going to divide the hair into three smaller pieces and cross the side strands under the middle strand braiding the hair in a regular three-strand braid. Then I'm just going to work my way down to the ends of the section and then just slide a bobby pin over the bottom.   So then I'm going to take the braid from the right side and bring it around the back of my head then placing it underneath the left braid.  Then once it's all tied off I went back and smoothed down any flyaway hair at my crown and then because I literally can't stop myself I'm going to go back over both of the braids and gently pull on the edges so they're a lot wider and then of course I just finished off the hairstyle with a medium hold hairspray and smoothed down any flyaways. That wraps up today's tutorial. Be sure to let me know in the comment section which of the three hairstyles was your favorite and click the thumbs up in case you want to see more half a pair of styles. Thank you so much for watching and I will see you next time.