good morning guys and welcome to a new vlog it's me and viper and we are going for our first saturday outing i had to take care of things i had to take care of sherry a little bit this morning had to finish up laundry do all the things so i did not get a chance to go to cycle bar like i was planning to but it's fine because my legs are like so sore from standing like dead standing from like surgery and stuff because i started clinicals so i'm excited but we are first going to starbucks right viper right and then we are gonna go to um town hall to get a pass to the dog park because i kind of want to take her to the dog park if that doesn't work out i'll just walk her downtown celebration a little bit um just for fun but other than that like i don't know what else we're doing today so yeah i just wanted to open up the video little clip here and maybe we'll montage it out i don't know it's just so hard to vlog or remember to vlog with her because i'm like concentrated on her like i try to scroll on instagram too and like i can't do it all right so we got the starbucks and viper over here had to move over haven't you yes yes now we're gonna stop by the vet to see when the next like saturday appointment is it's not until like next month but it's all right it is a okay let this person go also too piper will not be having another pop cup because she vomited yesterday on our walk so i'm like yeah there's no way i'm giving her any of that like i'm not giving her any human food no no no i'm lucky that she didn't like just vomit in her crate because that would have been like not the best thing to clean up okay so basically we did have to wait until next month for the next appointment but got the appointment card and this is our little vet it's super close so i mean it's worth the wait just to have someone in town take a look at piper get the dog park pass which is fine i'll just get it sometime next week um i know that they're open like later on tuesdays and thursdays so um i'll probably just go ahead and get it then but for now we've had a pretty productive morning i'm gonna try to clip her nails at least just the front ones like i don't know if i can even like do the back ones but we'll try i'm not going to go obviously that far back i just like a little trim will be helpful just to hold her over until the groomers i'm just have her for a little ride i thought she would find this to be fun and you know i need to get my auto change because i've been driving a lot so i'm coming up on like the mileage you know so thought this would be a little fun outing for us today we'll probably go for another walk in the afternoon probably not as long as yesterday we are here at valveline as you can see there is a little bit of a wait here so but she's doing good it's been a while since i've vlogged the food but valer's making her a salmon meal yum yum smells so good piper is tonight's dinner i know this vlog's kind of choppy but hope you guys are enjoying at least getting some dog content smells so good so i'm just gonna chow down now and we also have broccoli but you guys know what that looks like our first time at the dog park how cute anyway there's not a lot of dogs here but yeah i just wanted to vlog this her first time


Hello there my friend and friends. There's not a whole lot to say about repeating background images in CSS right? I mean it's something that's just sort of been there for a long time. I guess the main thing is you just don't really want them because it's annoying. We just these days often just throw a background size cover on things anyway. But what if I told you that there's something very few people know about repeating backgrounds and that's even including some of the most seasoned CSSers out there? Well I actually just recently learned that there's a couple of values that you probably don't know about that are kind of interesting and we'll even get to a potentially kind of cool use case I think or a fun thing we can do with them anyway a bit closer to the end of the video. But first we're going to look at just sort of the basics and dive into a quick reminder on how repeating backgrounds work since as I said people usually do a background repeat of none or just the background size of cover and they're happy with it.  But yeah we have this and I've just put it as a background image on my body and it repeats and fills up all of the available space and then of course we can you know background size that background size of say I don't know 100 pixels and then it's that size play around the different size it just repeats and it fills up all of the available space especially because it's on the body right now. Now of course what we can do is we can come in and control that to a certain extent with that background repeat that I was just talking about and let's make the code slightly bigger here. So we can come in with a background repeat and then like I said we can do a no repeat and then it's not going to repeat at all I just have the image one time or I can repeat it across a specific axis if I want so we can do a repeat X like that it's only going to repeat on the X axis or we can do the repeat Y and then it's only going to repeat on the Y axis. I'm assuming you already knew this but just in case I wanted this quick recap but one thing it's really important when we're doing these repeats is it just fills up the image over and over and over again and it just crops it off and that's the thing with background images right they just repeat themselves over and over and over again so here if I go like that like it's just repeating and it's just cropping off where it needs to crop it off because it's filling up the space with that image at the size I said and background images are always cropped and I always tell people use background images if you don't mind it being cropped off the one time that there's an exception to that is if you use a background size of contain and then it just means it might not actually fill up the entire space but at least you'll see your entire image I don't use that one very often but it is out there if you need it but as I said there is a new value here and there's actually two of them we'll start with the first one and then we'll check the second one out after and the first one is you might have seen it in the thumbnail it is the background repeat of space you'll notice something changed but it's not super obvious what but what it's doing now is you'll notice it's the that fef there is four there four times and we can see the entire thing when we had it as the repeat x it's cropping it at that right side right and if I move this like it just crops the image off wherever and let's shrink this down a little bit more and then let's go back to having space here and now we're only gonna have three of them hmm what's going on right it's kind of interesting and it's repeating the image but it's making sure that it will never crop the image so as this gets bigger or smaller see how it's like okay we're doing our thing but oh at that point it disappears because there's not enough room for the three of them to be there and have them all there and then we can go this way and add more of them kind of weird right and kind of interesting now I'm going to make a small change here just to make my life a little bit easier for demo purposes and so I've put in this div of repeating bg that I have right here and the advantage is I can resize it so we can sort of see what's going on once again we're in the the default use state here it just makes it easier for me to resize things that's the only reason I'm doing it this way so once again we have the background image there so we can do a background size let's say 150 pixels and then the background repeat of space right there and you see it works in both directions and right now you might be going hmm this is really weird or you just thought of a really cool use case and I hope that's the situation but even if you haven't you know like this is a really strange property and I don't know how I'd use it it is kind of neat that it's never cropping anything and I think that's really really nice as we get smaller it sort of gets weird because you have so much empty space so it really does depend on the image and the size of your image as well and how you're going to be using it but it works in both directions and of course this background repeat is a shorthand as well so you could also do this with space and no repeat in the other direction and you could move this on over to the beginning and have it as no repeat space so you can have it go in one direction or the other or if you wanted to you could have one of them as a regular repeat and the other one as a space which is kind of interesting kind of different but you know the options on the table if you want it yeah if we just do the one property here then it's going to use space in both of them rather than only in one of the directions and I think I don't know it's kind of an interesting one and as I mentioned though there is another one but this is before we get to sort of the semi-practical use case that I've come up with for this where instead of doing it like this what we could actually come and do is with a round and round is a little bit different because it's actually going to sort of stretch and pull at the image a little bit you can see it's like changing size as this is happening and if you have the right like if I had this at the perfect what's it called aspect ratio as I was resizing it would always keep my logo thingy there the right size but maybe it wouldn't even as I'm doing this more but basically it's the exact same thing but instead of increasing or decreasing and having empty space it's not including any this image does have some empty space around it which is why we're seeing some spaces there but it's going to have no space between the images at all and it's going to sort of just squish and pull and round I guess round off the sizing of it to make it fit in a way this one just because it does distort the image I see less practical use case for it but once again I hope that you can think of something cool to do with that and if you do have a good one for round actually leave a comment down below or we're going to look in an example now of what we can do but if you have another thought that has crossed your mind or if you ever use this in production please do let me know what you did or how you did it or whatever it is because this is one of those things where I'm like I'm sure there's really awesome use cases for this that aren't even crossing my mind because these weird little niche things they usually have these like oh that is perfect for this like weird thing I never would have thought of before so if you have any thoughts on those or if you've ever used it please leave a comment below and just really fast before we get into the other example I do want to just show you quickly here the browser support this is of the time of recording I'll put a link I guess down below but it's basically perfect if you can do anything if you're writing CSS this is as good as browser support for anything is going to get so yeah you can use it either one of these without any worries so yeah let's jump over to this I know there's probably better ways of doing this to be honest with you but I thought this is like a interesting way that we could approach this type of thing so we're gonna do like a star rating system where you can choose how many stars you want and then it's going to show you that many stars using the background image which I've never thought about doing this before but it just seemed like something we could do so just really fast I have a select here with some options in it so nothing too fancy there there's just a big font size and a bit of padding on there and then if I look at my javascript we're grabbing that so let my star rating be my select menu right there nothing too complicated and then we're going to add an event listener where that event listener is just going to look for a change so anytime we select and then actually click on something so we're changing the selected thing here we're going to set a property on the body of star count and then we're just grabbing the value so the value is you know option one is zero to one two three four and so on so nothing too complicated at all going on there and then yeah we can do stuff with this I'd love to know what you think about this too if you think like Kevin this is not the best example or this was cool and I'm you know could maybe not use it exactly like this but we could do something similar if you want so I don't have much right now we're going to look at sort of what I have set up here because I have a background image on my rating here but we can't see it so I'm going to come here and let's just give this a height for now of I don't know we'll say 10 rem just so we can see something and there we go maybe I'll do 15 now just so we can see that our background image is in there and we're going to improve this so that doesn't happen and so we just have like our stars showing up right now and for me what at any time I'm doing something is we're going to have sort of some calculations and some other stuff going on I want to make it easy to come in and make changes to it so here I'm going to say that we have a star size and let's just go in with a 10 rem for now and we're also going to do a gap we're going to say I don't know we'll go with five pixels because of the way space works it's going to leave space between my stars I want to be able to control how much space that actually is so we can go in with that right there so here we obviously we don't want things repeating like they're repeating right now and so let's say the background repeat is going to be and we need to change two of them because I'm going to do a space this way but then I'm going to do a no repeat the other way just to make sure they're only repeating left to right and not repeating up and down so that is perfect and then we can also come in and say that the background size is my var star size and that way they probably won't change very much but if I come in here and I make that smaller it's going to change the size of my stars I think a smaller value for this one will work better so that's the beginning and you can see sort of the idea right the the bigger or smaller this red box is and we get rid of the border eventually on this but it just sort of highlights how it's working so we can just have a set number of stars and we want to control that space that's in between there so when we do this and we get our star count from the drop down here from our select menu it's passing one two three four we're getting these unit list numbers right so we need to do something with those so what I'm going to do is I'm going to come down to here and or I'll come here actually because we have a height and with my height let's add a width and my width we're going to do a calc just because we need to add a unit into that number we have so we can do our var and it was star count right star count and we're going to start with zero as a fallback so if you know if we haven't selected anything the user's loaded the page the default will be a zero and then if we choose something then it will use the star count there so this is just a fallback if the custom property hasn't been declared or said anywhere so I want my width to be my star count but I obviously I don't want my width to actually be zero so what we're going to do is we're going to multiply that by our star size so times var star size and look at that it's down to two and then I can go to one and then go to three and then I can go to five and I can get whatever I want isn't that already kind of cool now there's two problems one the height is kind of ridiculous so even though we have the no repeat on here because it is a background image like if my height was too small let's make it just too rem for now that could be problematic because it cuts things off so for the height here I think what I'll do is my var star size as well just to make sure it's always big enough and if you want you can even do a calc here and add a little bit of extra height to it that would work fine so we sort of have something that's already working but my issue with it right now is that when I do it there's no space between the stars and then you know I don't need to use this space here I can just use a regular background repeat and everything would work right I can let's not take that one off let's just do it like this like there is no background repeat no it's sticking out there but the same idea we're just matching the size of the star so let's take advantage of that and actually add some space in there because I think that's what makes you know sticking together looks kind of weird and I like that we'll be able to control it and honestly it's really easy to do it's just here where not my background size but where I did my width we're going to make this a little bit more complex not really but a little bit so to do this we could come in and I was hoping this would work where I could just do plus var and do my gap here because that will add you can see there is a space there the problem is and if this doesn't bother you but just like as we make it bigger it's like ruining things right a little bit because here or sorry at two stars it's actually five pixels in between them let's make it a little bit bigger just so we can see it so we actually have the space we want but then when I go to two stars or three stars I should say then it like halves that amount of space because it's dividing that between the two of them and then we're dividing that space between the three of them so I'm going to come here and I'm going to do a gap calculation just make it short and then here what we're going to do is I'm just going to paste this in right here just to I don't want to make any typos along the way basically and forget a parentheses somewhere so now before I explain how this works let's just update my gap here to be my gap calc and now we'll explain how this works so everything should look the same but let's go to zero and we have nothing because we have zero width if I go up to one we have one star perfect what we're getting is the width of my rating is exactly the size of the star because my gap calculation here will be zero because we're doing star count of one minus one so we have a zero times my gap but zero times my gap it doesn't matter it's zero then we go up to two stars and we're going to have a gap of 15 in between the two of them because we have two minus one so we have one now times my gap is 15 do it at three see how my last time remember before it was like shifting every time we added now it doesn't shift so if we did four four minus one is three times the gap times 15 45 so it's going to end up evenly distributing that 45 in all the gaps we have here a very flex boxy and like the same way to justify content space between would work but we're sort of having to do the work ourselves here it's exactly what this is and now I have a star count that works there is one issue with it is if you made your gap too big so let's just come here and make it I don't know 10 ram um it's going to break things uh because now you know it doesn't it's going kind of crazy uh so you could actually um I'll put a finished code pen that actually has a bit more complex math going on here that actually prevents you from putting too big of a gap based on your star size and stuff I don't want to get into nitty gritty I wanted to look at this property and I think it's pretty cool um so this is happening thanks to our space that that enables this and makes it all happen right and if I bring that back down to five now we have a gap and it lets me control it but anyway an interesting sort of obscure css property that you could probably do some interesting things with uh and if you enjoyed this video and you'd like to know other css properties and stuff that people don't know enough about uh there's a much more practical one I think where you can actually do all sorts of controls on your underlines for things like links where you can control things like the thickness the offset the color and other things as well a lot of people end up doing pseudo elements and borders but you do not need to do all that there's easy controls for all of those things and I've covered all of those any video that is right here for your viewing pleasure if that sounds good to you and with that I would really like to thank my enablers of awesome Andrew Simon Tim and Johnny as well as all my other patrons for their monthly support and of course until next time don't forget to make your corner of the internet just a little bit more awesome


I actually really like this steel book I found now would you believe it that I actually bought this before I even had a blu-ray? I bought this back off of Amazon back in 2012 I thought it was a blu-ray DVD mix because I was still one of those people like Blu-ray like a twat yesterday was the first time I've watched it on this format That's a four-year-old purchase either way. No country for old men is an amazing standout film by the Coen brothers Amazingly well shot by Roger Deegan's of course who is nominated for that film and the assassination of Jesse James by the coward Robert Ford and he was nominated twice in the same year and he still didn't win Best photography, which is ridiculous. No country for old men is about Josh Brolin who comes across as money of this Mexican drug deal gone wrong and he sees this opportunity and he takes the money He is then being followed by Harvey R. Baradim. Who is this psychopath? Hitman who has an extremely strict and Twisted sets of principles and the whole film is a cat-and-mouse chase between these two all the while Tommy Lee Jones is basically a man out of his element as the sheriff who is trying to follow the situation No country for old men still stands up today I still remember watching it in theaters and thinking wow, this is an amazing movie the film is very quiet in terms of score I barely recognize any music about this movie if you do hear it pointed out to me because I only hear it For sure at the end that's something that I thought was very interesting about this film is the rule aspect of it The Coen brothers have always been known for doing more so sort of dark comedies The darkest they went and the most serious they went was Fargo this film goes well beyond the seriousness of Fargo And it is one of the most intense Dark films I've ever seen and the thing that I liked about this film the most is the characters themselves Josh Brolin is a guy who comes across a big pile of money and he goes Yeah And then he walks off shalt not shalom play and we every time we see him in bed We see him having a conversation with himself, and we always give vision He vocally says the ending of that conversation, and that's what I liked about every time that they did that I was like oh, so we're seeing him at the very end of a conversation within his head And of course Harvey R. Bairdine is amazing in this movie his performance in this role is memorable beyond meaning his character is dark and scary and Oddly humorous the scene with the coin who does not remember the scene with the coin toss It's a scene that kind of comes out of nowhere because he's literally just stopping by at this gas station I remember holding my breath watching this scene because of how intense it was and how His dialogue like this coin has been coming to you for ever since 1958 and your whole life has been leading up to this coin so call it and never Thought a coin toss would be so scary But you know we see it from two-faced right with him with the coin toss no no I'll admit Harvey R. Bairdine's got the scariest coin toss scene I've ever seen and then Tommy Lee Jones Tommy Lee Jones is a man Who's out of his element he even talks about the beginning of the film about how he? looks up to the Sheriff's who used to be confident enough to walk without a gun and that's something that he feels that He's an old-timer. He's out of his element now And we watch him as this new sort of crime wave is taking over and then everyone else in this film, too Woody Harrelson is really good in it Kelly McDonald is Really funny as I liked her character as Josh Rowland's wife the film itself plays out so well Every moment of the film we are watching a new aspect of the character something that I've heard be said is Visually show your characters don't explain them don't have them explain themselves And that's what this film does every time we go to a new location We're finding out something different about their characters We see that Josh Rowland is a thinking man with how he hides the money with how he sets himself up We also see that Harvey R. Bairdine is very intricate with his job when he goes into the room He when he's before he goes into the room that he believes Josh Rowland is in with the money He practices going into his room by opening and closing the door with the light There's a lot of these little elements in this film that add up to the big picture And of course there's the ending where Josh Rowland gets killed off screen Which a lot of people including me were quite pissed off about But that's the thing that this film is showing is that the good guy doesn't win and that in this scenario that's what the point of the story is is that evil triumphs over good and Even though you would think that what his intentions are right He oversteps himself and I enjoy the ending the very end as well With Harvey R. Bairdine meeting with his wife and how that ambiguity of how you don't know what happened And you kind of have an idea of what happened But you don't you're not really sure and then Tommy Lee Jones of his dream of basically him being out Maneuvered him basically not being able to keep up with the light so in the end I'm obviously gonna give no country for old man a seven out of seven. It's an amazing film. I very much enjoy I love looking up fan posters for this film. It's one I came across on Pinterest It's one of the floor when he kills when Harvey R. Bairdine kills the cop with his with the cuffs There's a poster of the title at the bottom and then majority of it is the floor with all the Streak marks on it and the shoes are at the top of the poster. Anyway guys, that's all for me I hope you enjoyed this review. Oh, yeah, we got to do the bucket at this rate probably in 20 years Maybe I'll be able to finish all of my movies I have to add more because I actually have gotten a few more movies. So Nolan movie I'm gonna be doing the prestige next. I'm looking forward to that cuz this actually I just saw it recently So there we go.


Okay, so we're not we're not live right when the. Yes. Okay. Great. I can't see I still can see the participants should I change my. I only see one person running hi Jenny. Okay. Okay, I guess we were going to begin. Okay. So I'm going to say some people again, joining us, please feel free to. Hi, Sammy. Hello, hello. I'm not worried about you, but you're here. I had another class on zoom. I was doing. No worries. No worries. Yeah. Yeah. I was just saying to all our attendees, please join the meeting on mute. Okay. So I'm going to begin officially. I'm going to be welcoming everyone here. And just some housekeeping items and some acknowledgment. If you would allow me. So welcome to no summary. This is golden threads, online conversations with artists who don't fit in a box. My name is Sahara staff. I use she her pronouns. And I'm the executive artistic director of golden thread productions. And by way of visual description, I'm an Arab woman with a light complexion and brown hair. And I'm wearing a navy blue blazer with a black top underneath.  For those of you who don't know, golden thread is the first American theater company devoted to theater from or about the Middle East. And we were founded by playwright and director to run. Yeah. In 1996. I would like to take a moment here to acknowledge the people of the land on which we live and work today. The multiple oloni tribes. Despite the atrocities of colonization and genocide, native communities persist today. And are active in efforts to preserve and revive their culture. At golden thread, we are driven by a desire to expand this land acknowledgement statement to recognize our community's experience of occupation in the Middle East. The refugee crisis and the displaced population. This today is our first no summary for 2023, which is our fourth season. Of this program. And in this new season, no summary embarks on a virtual tour to universities across the nation. Bringing golden threads conversations with artists who don't fit in a box to theater and art classes. It's like a. Class visit made public, basically. So I'm so thrilled to be launching this year's series. With our artists in residence. Join by the classes and some students from the classes of associate professor and cultural historian. Simon Anderson. At the school of the art Institute of Chicago. And students from the classes of interdisciplinary artists. As much at Columbia College, Chicago. And also at the school of the art Institute in Chicago. So. Welcome all of you and thank you for being here. And our guest speaker today. Allow me to make it a little also official of an introduction and read a little bit of. Wafa's bio for those of you who might not be so familiar with his brilliant work. Wafa is Iraqi born artist and arts professor at NYU. And he's a professor at NYU. He's known internationally for his online performative and interactive works, provoking dialogue about international and interpersonal politics. His work explores tensions as he would like to put it between the cultural spaces he occupies. His home in the comfort zone of the U.S. and his consciousness in the conflict zone. He's known internationally for his online performative and interactive work. And his consciousness in the conflict zone in Iraq. For his 2007 installation, domestic tension. Bilal spent a month in flat file galleries where people could shoot him via a remote access paintball gun. The Chicago Tribune called it one of the sharpest works of political art to be seen in a long time. Naming him 2008 artists of the year. That year city lights published shoot an Iraqi art life and resistance under the gun about Bilal's life and about domestic tension. Using his own body as a medium Bilal continued to challenge the public comfort zone with projects like third eye and and counting. His work can be found in the permanent collections of the Los Angeles County Museum of Art Museum of contemporary photography in Chicago. He is a professor at the University of New Mexico and MFA from the school of the Art Institute of Chicago. And is currently, as I said, an arts professor at NYU school. What was also our artist in residence. We're so honored. And he will collaborate with us on multiple projects throughout the year, including the curation of and wreak at a comedy show. And also he will be contributing to the reorient forum this fall. And just allow me also like to just say one thing about this artist in residence program because it's a brand new initiative at Golden Fred. And aim is to engage guest artists on an annual basis within the company staff. So the program intends to bring fresh perspectives into each season and also expand the culture of innovation and creativity while allowing the guest artist the opportunity to grow their work and engage with our communities. Again, I'm so honored to be launching this new program with you Wafa. Welcome. Thank you so much, Sahar. And I wanted to say I'm really thrilled to be working with you and working with the Golden Fred with a great opportunity. It is very unusual with me to cross path to the theater. But I'm sure there is a great connection here. There is. And we're going to be talking about it for sure. So this conversation today is the title of the conversation is comedy as a form of resistance. So we're going to be diving into why Wafa Bilal is doing something like a stand-up comedy, curating a stand-up comedy. Before we do that, I want to welcome those in the room again. And also those of you who are tuning into the live stream on HowlRound. So those who are with us in the room, please feel free to contact us. So those who are with us in the room, please feel free at any point to utilize the chat function and post your comments and questions throughout the conversations. Feel free also to introduce yourselves in the chat as well. We're going to be sharing the biographies of our speakers also in the chat for you to have a deeper look at them. So those who know Wafa's work, like I do, might have been surprised to know that you're the curator of the comedy show. Like I was. I mean, when we started this conversation, Wafa, about what to do during this residency with us, I was literally expecting anything except comedy. But it was such a happy surprise for me because at Golden Thread, we were really looking for opportunities to allow us to spread laughter amongst our communities.  Like to name a few examples, you've surgically installed a camera into your skull for a year. You put your body in front of a web-activated paintball gun for like six weeks in domestic tension. You then have a sticky memorial permanently tattooed on your back and counting. So as a theater maker and firm believer in the power of storytelling, I find it extremely interesting that you say America, the stand-up comedy battle. It does the same thing basically. Triggers a platform. I would like to invite you to begin, start us on this conversation by talking about you know, how does your work, you know, the kind of work that you do and comedy come together by triggering it. Oh, Sarah, thank you so much. When I looked at comedy, it really it bring me back so many years to the childhood. And I wasn't aware of its power, the power of laughter, the power of the very basic of it as a, is it the joke? But then when we to begin with, we try to analyze it, right? What's the basic of it? In order to laugh at something specifically a joke, you do need basic things. You need to be informed of a situation. You have to have a network of things. You have to have a reference to things, whether it's politics, whether social, whether it's a mundane thing. So things we practice every day, but you don't really know the mechanism about it. So let's say I'm saying a joke, but what I'm really doing, that joke it would never resonate unless there is a connection between me and the people I'm telling that joke. So we could see immediately that form is build them a community. And that's what interests me to begin with. How a laughter build a community. But let's break it more down, go to the child. I lived in Iraq when I was a child under Saddam regime and I lived through multiple wars. Let's not talk about the oppression of the regime, just talk about the wars, for example, Iran, Iraq war, Iran Kuwait, Iraq Kuwait war, within the war tend to dehumanize people because it's insignificant. The destruction doesn't discriminate whether it's a human or an object. Then it become a form of oppression. How do you fight that back? How do you say I'm a human? I exist, but I have not existed alone. So it become empowered. And I remember the childhood memories all punctuated with laughter whether it's during bombing or whether during the embargo or during a harsh day. Why that is important? I think it's important because it holds us together. As a group of people, it empower us, then it enable us to fight back. Then we go back, well, how is it laughter making us fighting back, for example? As I mentioned, I live under Saddam's regime. And as a group of teenagers, this is the 70s, the 80s. Forget about your phone, forget about the internet, forget about even TV, phone. What it was, it was us teenagers. It's trying to prevail over an oppressive regime. How do you do that? By breaking its power through minimizing its psychological effects. What did we do? We establish an underground, call it a comedy club, but really it's a joke that is built by people and disseminated by people underground. So we would tell jokes about the regime to undermine its power and its effect on our mentality. This way, not only we feel we are living but we are in power too. And how did we do it? Our parents always told us, be careful when you live under an oppressive regime because the walls have ears. As kids, we took it literally, the walls have ears. They're listening, right? So we would tell each other, meet me at that intersection. I have a new job for you. And we would walk to the intersection. Why the intersection? Because we were afraid of any walls. We were afraid of any enclosure, anybody who could hear us. We were even afraid of people from a distance. So we will distance ourselves. We will come to tell the joke. Of course, it was directly about the regime, about the leader of the regime. And then we will walk away. That continued for so many people under oppression in Iraq. And that practice to this day, I remember one day, then it was really when around, when the civil war about to break in Iraq, around 2007, eight, I think that's when I did domestic tension when the joke dried up in Iraq. And that's the first time I realize the culture is in danger because for the first time, politics and the situation is way more than a human could bear to the point that Iraq cannot laugh. And that's when you know the culture is in danger when they cannot laugh at politics. I'll stop for now. Thank you so much, Wafa, for the story. And yeah, I remember reading this bit. It was very striking for me in to shoot an Iraqi when you speak about it. And I actually highlighted this part where you're talking about how the fact that Iraqis are not able to laugh is deeply disturbing because it kind of gives you, it means that they've entered, you say a mode of complete hopelessness. So I do have a follow-up question or this, but before I do that, I wanna turn to our guest speakers also here who are bringing their students to join us. So I'm gonna turn to you, Simon. Hello and welcome. We're so happy to have you. Please, you know, feel free to comment. I wanna ask you like whatever resonated from what Wafa shared with us and also tell us a little about your work and the students that might be joining us here today, some of your students, I believe are here. Yes, indeed. Thank you, Sahar. Thank you for this opportunity to engage with this fascinating concept. And thank you, Wafa, for remembering the old school. And so I come at the idea of humor from my own area of interest, wherein the work of art was deliberately made to be sometimes a gag, a visual gag or a kind of conceptual one-liner. So I learned very early that the idea of a work of art can be simply to flip your ideas around and maybe humor is a very good way of doing that. And hopefully for those people who are in the room as well, the Friday afternoon crew will acknowledge that I'm not making that up. So I find humor to be a very powerful thing. And first of all, Wafa, I wanna thank you for that story. Man, that was harsh. But I'm grateful to have heard it. And I want to say that, although it can never scar the psyche as much, that humor works in a similar way in the individual psyche. In other words, that it sets up these situations where for instance, is it safe to tell this joke? Is that joke going to offend someone else? And maybe even the joke itself is about a clash of oppositions. So that's what I'm interested in thinking about. And because I'm a historian, I'm thinking about it as a historical thing. And so I know it goes back a long way. Thank you so much, Sam. And I just wanna mention something about what you just said. And I wanted to refer everybody to what the futurists did around the four-world war or the first war and in their opposition toward the use comedy as a form of resistance. So I highly recommend people read about that and what the futurists and other people have done of performance are taking it to the public to undermine and to resist war. Yeah, thank you both. I mean, historically speaking in the theater also, like it goes back to the ancient Greeks, right? With Aristophanes' comedies telling us a lot about what was happening politically and socially and even in like how the theater, we learned a lot about how theater functioned through these comedies. And it was like kind of mandatory to add the satir plays within the, you know, tragic trilogies. It's interesting. Let's see, Sammy, how is it for you? Where does your work intersect? Do you do comedies in your work to begin with? I'm not sure. It could be up to interpretation. And I think part of the tactics that I started to use by being here is to play in this realm of like fiction and nonfiction and the real and not real. And that could end up being comic depending on who you are performing in front of and what type of audience. I mean, it's funny. I was reading the other day that the global South, they know a lot about themselves and their political situation. And they also know about people in Europe and in America. But people in America and Europe barely know about themselves and their political situation. Which is, you know, I think this is the kind of realm I play at and where I'm coming from over here. And sometimes that could be comic. I don't think I go with the intention of it being comic, but it does sometimes end up being comic for sure. And if I may, I mean, I'd like to call on my students in the chat just to comment if you all can on what does it mean for you in relation to the work we have been doing with me or with other professors. What does it mean for you to trigger a platform and then what's important about humor in relation to your work? And if you want to introduce yourself, as Sahar said, please do, right? So in the chat, and then maybe Sahar, if we have time, a couple of them can be invited to speak if that's... Oh, absolutely. That's an idea. I'd love for them to speak. I see lots of nods and I see Sophia, Jenny, forgive me if I'm mispronouncing the names, but feel free to unmute, use the raise hand function at any point or add your question in the chat. But we really would love to hear your voices. So just, yeah. And Wendy, keep an eye with me on if I don't see, like I'm not able to see everyone. I don't know for some reason, but if people raise their hands, just give me a sign. Anyone? Any question from the room before we move on? Something very, very relevant. I know the graduate students are working on an adaptation of the Bacchai and each of them are individually really triggering a platform in relation to the Bacchai and there is comedy in it. So any of the graduate students, please, if you want to talk about that, I think that would be a great entry point for you into the discussion as well. While we're still loitering in the ancient past, I want to thank you Sahafa for the mention of Aristophanes, because I think, you know, Cloud Cuckoo Land is a place that is still around and thrown around as a kind of political fantasy. And it's interesting to think about the way that those humorous terms can be kind of thrown around and used as weapons or alternatively can be kind of mirrored and used as a form of defense. I don't know, I think Wafa probably is someone who's been a target more than most of us. You might want to, you might have something to say about that, but really it's just an idea about how that sort of, especially in standup, I think, when you're there alone and you are the focus, that must have a kind of psychic effect. This is a good time, I think, to talk about how perhaps the performance is linked to standup comedy. And again, breaking down the mechanism of it. Standup comedy is, I've been observing it for so many years and I think that is why I decide to produce it in a form of this show. If we think about the performance and the power of it, the performance is one medium that is not mediated, very similar to theater, very similar to standup comedy, if it's life, of course. And what do I mean by mediated? And mediated is not carried by another medium, right? So our thoughts, as an artist, we take a thought and then we assign it as a value to an object, to an act, and that become a form of art. So a medium carry out that, whether it's a scepter, whether it's a digital art, whether it's a painting, it really doesn't matter. We have a form of art that doesn't need a medium. The medium could be every one of us, it could be the body. So if it's mediated, where the power of that form come from, it's from its immediate. And that is some powerful thing. Why? Because as a living being, we have, we are affected not only by our thoughts and our cognitive power, but also our bodies have its own languages. We thinking about it that way. Then performance theater and standup has its immediacy, its effect on the viewer. On the participant that is engaged in that place, in that time. And I think we perhaps agree why these three forms of art, it's hard to replicate them on the record. It's hard to, you could archive them, but their effect, it would never be the same because they intended to be immediate and had effects on the viewer with a performance standup. And you could see why artists and theater standup choose that form in the time of upheaval whether it's political or social because they needed the immediacy. They needed to establish a platform. They needed to trigger. What do they need to trigger? They needed to trigger a respond. Regardless of the objective, here we're not passing any moral judgment on the artist. We're just breaking down the mechanism of things. So what is all, again, more in common they have? They have somebody who triggered the platform or a group of people who triggered the platform. They have a platform, then they have the audience. And I think that is now where we question how effective the work is. When it comes to art, we should never pass a judgment if this is good or bad art, right? Or no, this is good art or not. This is not up to us. The question is, is it effective or it is not? And I think its effectiveness come from how informed the performer is in form of what? In form of the subject matter, in form of two important elements. Objective, all the piece, but one of the most important element, the audience, right? How do you and your audience to engage in and what's the objective of the entire performance? When we break all of these down, I think it is easy for us to see the link between these three forms of art, right?  It's never easy. If you ever stood on that platform, regardless of the platform, you see and you feel the energy, right? Coming towards you. Then it is really up to you as a performer. How do you start energy to serve your objective? This is not an easy task, but trust me, it is, it gets easier and easier and easier with the practice because we stand as a performer, we develop the tools to understand the situation we built to understand the objective and to deliver it by using the energy of the audience themselves. And I think the more we see stand up comedian are some of the best edits because people throw in things of them most of the time. Stand up comedian are able to get under people's skin. The objective there is to agitate, to inhale agitation is a form of engagement. It's antagonism. When you antagonize somebody, you don't want them to go away. You want them to engage and stand up comedian, use it, visual artists use it, theater use it too. So then what happened when you're standing alone antagonize people and things throw in it? Then you have to be quick. Either you anticipated that already or you are really quick at engaging people in the artist's objective and its outcome. Which I think Wafa is where humor comes in, right? Because it's a very rapid way to make a group of people cohere and also to a certain extent to disempower them, right?   Absolutely, absolutely. This is a great point. I just bring you an example from a real life. I did a project called the virtual jihadi, right? In Troy, where the government in the United States shut it down twice, within a few days. And it really was about aggression in video games against Middle East, right? And I described myself. I did nothing except holding a mirror reflecting a social condition, right? But that reflection didn't go very well. Why? Because people saw their own reflection and the picture was not very good. So I took that and then I exaggerated. I built my avatar as a medieval warrior with a suicide belt. It made no sense, right? But you see where the comedy start coming in. That already brought the tension. What is this thing? It doesn't make sense. And that's where comedy break any tension in the service and allowed us the entry for a conversation. Not many other things could do that, right? And that is the power of stand-up comedy and the power of the single element of comedy, which is a joke. Fantastic. I love that. In your description of Amrika Wafa, you say almost like the same thing. And I'm gonna be reading from our synopsis, which is on the website. This cathartic and witty venting holds a mirror up to reality showing it has become so absurd and surreal one must laugh if not cry. So in essence, it's doing the same thing, right? Like we're just reflecting. We're not necessarily trying to change things as much as we're just like inviting audiences to come and look at reality and the status quo. Yeah, it's true, Sarah. I mean, how did, I'm sure we need to look at just like how Amrika come to become a reality. Why a stand-up comedy show as a form of art, especially for me. When I left Chicago in 2008, I really loved that city in Chicago. It allowed me the spiritual and the physical space to think and do things. Come to New York is completely the opposite. It's rush, rush, rush. There is no physical or mental space. So while I'm in my small office or living space, I take a breather and I live in the village. And the breather is, I would go to these underground stand-up comedy clubs, right? And it remind me of what happened in my childhood and how so many comedians come to ear their grievances a life to other people as a form of living, right? They're not asking for money at all. These are one profession in the United States who doesn't want money for performance is stand-up comedian. And I think I used that in the Guggenheim Museum performance. But going back to Amrika, then come a moment. And I don't want it to be specific because I said I don't want it to politicize laughter but laugh at politics. A shift in United States politics made it a lot harder for us as a community. What I mean by us, not only Middle Eastern community who are not served from any minority community in the United States. It come very clear to me, it become very clear we needed to establish a platform to complain. And that complaint, it's a form of comedy and the complaint itself, it would be the glue to bring not to the reason to bring us together and to united us, to give us the power and to make us visible. It's not just about power, we all talk about power but I think the most powerful thing for us to do sometimes when we don't have the power is the visibility and I really thought this is a very simple idea but it has a tremendous power. So myself and couple of friends in New York City we decided why don't we do our own stand up comedy show, invited all the disfranchised friends or the people we like when we just go to other comedy clubs and see what happened and it did and we were really surprised.  It was Duda cafe, I think upper west side, the first one and it was an amazing hit. Politics and the environmental, political environmental us needed that form to come over a drink and a bite and talk to each other, catch up, it helped and I think it gives also an amazing platform to the comedian themselves to laugh at politics.  Yeah, so guys, just if you don't know that just like much about stand up comedian here in the village, there are a lot of comedy clubs. Some of the form called bringers, which is if you ever walk around and people handing you flour and saying, hey comedy show come in. These are the comedian themselves bringing in people to the show for every person they bring, they get a minute off time, right? So when Sahar told me, the comedian are not turning their W9 forms or not signing contract, they say, Sahar, please tell them for every day they are not signing, they are losing a minute of their time. Let's get scared also. I wanna uplift some of the comments we're having from students in the chat and please feel free again to speak directly with Wafa or your professors here. Sophia, Zooming from Chicago and Sammy's class and I'm gonna be skipping some parts here just because we're short on time, it's never enough. I'm an actor that focuses on comedy so this subject that is close to my heart, I think comedy can give power back to the artist and audience allowing them to laugh and find relief in community. I also think it's easier to get people behind visiting a comedy show than the more serious platforms. Laughter is cathartic and isn't intimidating. Thank you, Sophia, would you like to say to kind of speak directly to us? Do you wanna unmute and add anything? I can a little bit, but I think what you said was really like the crux of that where I just think that comedy is a thing that everyone enjoys and everyone can relate on and although I hate thinking about the business side of theater, it's the part that I dread, but it's like, you have to get people to come see your things if you want to portray a message and there needs to be that kind of relief and catharsis for people and I've just found in my own daily thing where I'm talking to my friends being like, hey, you wanna come see my show and they're like, what's it about? And I'm like, oh, it's a very dramatic serious thing and they're like, oh, sorry, I have plans tonight. Or if I'm like, oh, it's like a comedic thing, like it's about a serious topic but we kind of like make light of it, they're like, oh yeah, I'll definitely come. So I think there has to be kind of the thought of that. Absolutely. Thank you, Sophia. And we also- Can I speak to that a little? Yeah, yeah. I think you raise a great point there. And it refers also to what I think Wafa was saying earlier. In other words that, you know, when you are, when you are being funny, you are kind of creating some sort of psychic tension in the mind of your audience. And that can, that has a lot of power, yeah? And so you can use that in many different ways.  And yet there are other places where people are making lots of people who might otherwise be disempowered laugh out loud. See what I'm saying? That what you're dealing with in comedy, I think, is a kind of manipulation of the psyche of the audience and your use of the term catharsis of course directly feeds right into those psychological theories. Yeah, I wanna add one, just small thing. Even the most serious production, there is always comic relief in it and it's built for a reason. In any production, whether it be theater, short, feature, there is comic relief punctuated that script. And it's for a reason because it comes a point when we cannot take it any longer. It's too much, then we need a break and the break comes in a comic relief. That opens up lots of thoughts for me and I wanna take a moment just to go back to this idea that you, not idea like the thought, the feeling that you've had in 2007, you said when Iraqi stopped laughing. Because as a Lebanese who's lived in Lebanon most of my life and kind of Lebanese are famous for cracking jokes about every little and small and big and think as way of dealing with the circumstances.  I feel I'm fed up with laughing about the situation. And here's like the pushback I wanna, or like just an idea I wanna throw and get your thoughts on it. Wafa and also Sami and Simon. Discapaces in my mind sometimes can be dangerous because we're, you know, we feel like it releases some of the anger that we need really to do something that would lead to a change that we need in our situation. So I'm just an individual in this time in my life. I'm not able to laugh at things that I used to laugh about in Lebanon in particular. It's not, I can't find it funny anymore. I'm done, like I don't want to be resilient. I don't want to be cracking jokes about it. I don't want to heal that way. I want the anger to be really big enough for us to like to say that's it. So I understand when you say like it's a sign that we have no hope when we stop laughing. At the same time, I want to say like maybe actually there is hope that we stop laughing because now we're gonna be trying something else to deal with the situation, you know what I mean? Yeah, so great points there. Let's first think about, it is not that I would come to laugh, right? But it's rather tool to engage. And I think there's a big difference between the two, right? If you laugh too much, I think at some point you cannot take it anymore because anything persistent for a long time as a living creature, we can't take that. We need a variation, right? So if we think of a laughter is a form of engagement. This changed a lot, right? Because it meant to engage us and it meant to temporarily getting us out of a sticking situation and hopefully motivated us to take up on a bigger thing moving forward. But then it becomes stagnant if it all become about laughing and I think it could fire back when we start laughing about the laughter itself and then we start about laughing about our situation, how can not get out of it? That is a dangerous thing because it starts to strip the very power we try to build. And at some point we snap and we say, I'm done. Just like what you mentioned, I wanted to go back and fix it. But Sahar, that is a point of privilege. We would never demand that unless we have the power to do it. As long as we don't have the power to change things, I think laughter would become the mean to engage but also it could backfire. So we have to look at it as just like how artists the trigger platform for engagement and that platform doesn't last forever. It is temporary for an engagement then there is the outcome that you wish. Yeah, absolutely. There's a lot to unpack here. And I think some of the comments we have from students, some of them also resonate with what you're saying. That's my opinion. It's not just the answer to everything. Absolutely, Sami, I see you unmuting and I see a lot of participation from your students and I wanna uplift all these great notes and comments and questions. So help me do that, Sami, do you wanna? Yeah, just quickly, I wanted to say something. Yeah, I mean, I think I understand where Wafa is also coming from and are you being from Syria and also witnessing some of these issues culturally, socially, immigration. You know, I feel that you have, yeah, it's a balance. Like suffering is almost part of our daily existence and we have to like be able to laugh about our suffering to be able to stay engaged. I think something I now understood more after you said what you last said, Wafa is, I think the moments when we stopped laughing at our suffering, we should be scared because it means we have become disengaged with the suffering, it's become normalized. We've accepted it and we cannot accept it, right? And so like I think now when you say the phrase like when Iraqi stopped laughing, I think that's something very real because it means they stop being engaged and the suffering has become normalized. Sammy, that is great. And it goes right into Sahar point because if a lot of laughter, it brings us to action. And that's when you say, no, I don't want more laughter. I want things to be done. But then if we stop laughing, it normalize. That's a beautiful step, Sammy. Absolutely. I agree, Sammy, a beautiful articulation of this thought. We have very little time left and I wanna give a chance to the students' voices in here. Let's see. I think we can say anybody who wants to jump in, raise their hand, say something, please do, please jump in. Yeah, any dying question? Question or thoughts? Becky, I see a note from Becky. Or jokes. Yeah, or jokes. Or jokes, yeah. Yeah. So I know as this is making process, go ahead. Can we pause the link for people to tell everybody about the stand-up comedy show coming to San Francisco? And please, if you have a friend, family, if you are there, send them the link. Yes, I did post it in the chat. Yes, great. Yeah, and actually I wanna invite Wendy to share screen with us, show us the poster of this comedy show that Wafa is curating, which is so fun to look at. And do you wanna say briefly why America? Oh, yeah. So when we decide we can do a stand-up comedy show in New York, we start stuck. Okay, what do you call it? We throw a lot of things. And somehow I said, America, not even thinking about it, because that's how we said America in the Middle East. And a friend said, well, that is it. It's the Milton pot, right? Then you could bring any disfrontized person and which fit perfectly. It doesn't really matter who that person, as long as they want it to complain. But look at this line-up, right? Yeah, yeah. Can we get better than that? All colors, background. That's what the show is really about. It is laughing at politics and breaking us together. Yeah, and I also wanna highlight the fact that it's a very diverse lineup of comedians thanks to Wafa and his curation. And I'm reminded now of something you said, Wafa, in one of our, again, conversations about the show when you told me something to the effect that you need culture weaved around comedy because it relies on the common knowledge of that culture. And without that knowledge, it won't work. And that's why you cannot, most of the time, translate. Oh, absolutely. Right? Yeah. Tell our audience, how do you think it will work with a Native American, Palestinian American, a Bengal American, and African American on stage, like all these backgrounds and cultures? They all walk into the bar and that's the job that I want. I really think it is going to rely on the common knowledge we already know, whether it's political or social. These guys seen the problems we see in a very different lens. And that's the beauty of it. They break it down to allow us to observe it and not to offend us, right? And to allow us, as I said, they hold that mirror to see these topics, how ridiculous are, right? And I think that's the beauty of the standup comedy. It allowed us to enter topics and discuss them, otherwise we'll be so afraid of them because they held such a high power. And then what happened is standup, break it down to us and say, hey, it's not that complicated. Look at it from this point or this. So these become entry point to any subject matter. And I think that's what we expect. We accept an hour and a half of non-stop looking at social political issue, but from a lens of a standup comedian. I can't wait. We're almost at time, but I wanna give a chance to Simon and Sammy for any final thoughts or questions or anything you'd like to wrap up basically with.  Yeah, love it. Yeah, okay. And I would say also, yeah, I think everybody, it was really good to be introduced and start thinking about this idea of what does it mean to trigger a platform and where is humor in that? But also consider your objective as the artist and am I using this humor and platform effectively? Because that's what it's about rather than like question if your art is good or not, right? It's more about how effective it is and how informed you are to do this objective, to achieve it. There's a huge responsibility in having access to triggering. Guys, go and support your stand-up comedians in wherever you are, trust me. There is no pleasure, well, besides theater, right, Sahar? Thank you. It's a great thing to hang out, go and have a drink with your friend and listen to stand-up comedians. It's really wonderful place to go together. But Sammy, Simon, really thank you so much for bringing such an important conversation to the platform today. I'm grateful. Thank you, Wafa. Thank you, Sahar. Thank you, everyone. I am. Thank you so much, all three of you, Wafa, Sammy and Simon. I'm so grateful and delighted to have had that. And Sahar, thank you so much for making all of this possible. Thank you, Wafa. I just want to take a moment also to acknowledge and say thank you to the students and I wanna Jenny, Asia, and again, forgive me. I don't intend to mispronounce if I'm mispronouncing your names. Becky, I've read all your comments here and they're brilliant notes. Kenzie, Jenny again and Rodra, Apologies. We didn't have time to uplift all those notes. Josh, thank you, everyone. I wanna also thank HowlRound for always giving us their platform to livestream our no-summary conversation. So up next on Golden Thread is America, that comedy show curated by Wafa Bilal here in San Francisco at the Brava Theater Center. You can find the information on our website. We're also getting ready for our signature program later in the fall. We orient a festival of short plays. I wanna thank the team at Golden Thread, really like small but mighty team and allow me to say their names, Michelle, Sheila, Wendy, Heather, Linda and Soluna. Without them, nothing can be done really and our board, thank you, our audiences, our attendees here in the room and also those of you who are joining the conversation on HowlRound. Thank you so much for tuning in. It's been such a great pleasure. Again, thank you, everyone and have a lovely and happy Friday.


Yes sir. What you did last week? Yes sir, I completed HCE Verma. I couldn't do the lecture thing because of the exam right now. Okay, so you don't have any doubts? Not really sir. And who else? 34th one. 34th, you have sent me? Yes sir. This is from HCE Verma is it? Yes sir. Okay, so we have a small plate having work function phi which is kept at a distance d from a singly ionized fixed ion. Okay, fine. So at a distance d there is an singly ionized. Singly ionized means what? Its charge is charge of an electron. Okay, so this is a positive charge kept at a distance d from a metal surface having work function phi. A monochromatic light beam is incident on the metal plate. Okay, so photons are hitting this plate. Find the maximum wavelength of the light used so that some of the photoelectron may go around the ion along the circle. Okay, so let's say the wavelength is lambda. So the energy of the photon will be what? HCE by lambda. Right? Now if work function is phi what will be the kinetic energy of the electron that will be emitted out from the metal surface? HCE by lambda minus phi. Correct, so HCE by lambda minus phi. This will be the kinetic energy. This is the maximum kinetic energy of the electron that will be coming out. This will be equal to what? Half m into v square. This is your first equation. Fine, so if the electrons that are coming out have to move in a circle then the complete velocity should be in the direction which is perpendicular to the direction of the force. Because this is the force of attraction from this charge which is equal to what? Force of attraction will be equal to KQ which is charge of electron multiplied by the electrons charge divided by d square. Okay, so this force should be equal to mv square by d. Okay, I am assuming that velocity of the electron coming out is perpendicular to this force. So it becomes tangential velocity and if it has to move in a circle then it should have a centripetal acceleration v square by r. And to provide that acceleration there has to be a force and that force is this force of attraction. Is it okay? Yes, sir. No doubts? Fine, let us move to this chapter. Write down nuclei. Now we have a brief discussion of nuclei when we were discussing about Rutherford experiment in the atoms chapter, isn't it? So we have this understanding now that at the center of the atom there should be a positively charged and very small object. So this positively charged and very small object, this thing is called nucleus. So you might have brief understanding about the nucleus already maybe from your chemistry chapter or you might be already knowing about the nucleus. So we will not assume any prior knowledge about it. So we will build it from the scratch. So Rutherford have conclusively proved that at the center there is this positively charged particle that is residing and it is very, very small. So in fact it is that small that the radius of this object is 10 raise to power 4 times the radius of the atom. So if you talk about the volume wise, the volume of this nucleus will be of what factor? 10 raise to power 12. It will be cube times smaller. So this will be V0 divided by 10 raise to power 12. Now you can sense how small the nucleus is. So it is the volume of atom divided by 10 raise to power 12 which is very, very small compared to the size of the atom. So we are dealing with a very tiny object and why this is very important? Because 99.99% of the mass resides inside it. 99.99% of the mass of atom is inside this very, very small volume. So that is why it is so important. Now during those times when nucleus was first discovered, they were also of the opinion that inside the nucleus there will be electrons also. But then using some quantum physics argument, it was proven that the atoms are inside the nucleus, electrons are not possible. So since then on it was assumed that inside the nucleus there will be only positively charged particles. And these positively charged particles, they were referred as protons. So it was during that point in time when manly, when this modern periodic table was getting built, it was also observed that the chemical property of any atom depends on how many protons are there in the nucleus. So this is a good measure or good, so to say, you can, knowing how many number of protons are there, you can actually estimate what will be the chemical property of an atom will be. So also number of protons will be equal to number of electrons also. So when you say that you are assuming that the atom is not ionized. So in a neutral atom, so number of protons will be equal to number of electrons because net net the charge should be zero. So for a long time it was assumed that inside the nucleus only protons are there. But then Chadwick did some experiment in 1932. So there was a big gap of around 20 years. People were unaware of this particle called neutrons. So in 1932 what Chadwick did, he bombarded alpha particle onto beryllium atom. So when he bombarded alpha particle into beryllium atom, he has observed a stream of neutral, he observed there was this neutral wave that was coming up. So this wave when it was coming up, people thought that it is an EM wave and it is neutral. How will you judge whether it is neutral or it has some charge? You just apply some sort of magnetic field or electric field if there is a deviation. To the stream of particles, then you can understand that it has some charge. Because electric or magnetic force can be only applied on some charged objects. Neutral objects won't feel any electric or magnetic force. So it was understood it is neutral. But then that point in time, EM wave was considered to be a well-known neutral wave. So when this neutral particle wave was used to ionize some atoms, let's say hydrogen atom. So it can knock out few electrons from the hydrogen atom and it can get ionized also. So using that and using conservation of energy and conservation of mass, there was this understanding that it is not a photon. So it must be some sort of particle that is coming out from the atom. So that's how people came to this understanding that inside the atom there are these neutral particles also. And these neutral particles, they were referred as neutrons. These are neutrons and protons were known beforehand only. So let's represent protons as P and neutrons as capital N. So both proton and neutron, they reside inside the nucleus. So this was an understanding that inside the nucleus there are protons and neutrons that are residing. And since the nucleus consists of almost entire mass, so the mass of the atom is nothing but more or less same as the mass of the nucleus itself. But then the mass which we are dealing with is very, very small. Like the mass of proton, if you try to find out, it will be around 1.67 into 10 raise to power minus 27 kg. So it's a very, very small mass. So there is a need to define a small unit of mass so that it becomes convenient for us to write down the atom's mass as such. Just like we have a unit of electron volt when we talk about energy, we have something called as atomic mass unit AMU to represent what is the mass of an atom. So this unit gets introduced to talk about the mass of the atom. And since like any other unit, we need to first assume how much is one unit of it? Like one AMU is what? So the way it is defined is like this. One atomic mass unit or let us say just one unit is nothing but one-twelfth of the mass of C12 atom. Why it is referred C12 atom? Because carbon can have isotopes. We'll come back to isotopes a little bit later. Right now, just write down this definition. This is the definition of one unit of the mass. And carbon 12, the mass of that is 1.992 into 10 raise to power minus 26. So this is the mass of one carbon 12 atom. So one unit this much kg. When you talk about one unit, mass of one unit, that will be what? This divided by 12, 1.992 divided by 12 into 10 raise to power minus 26 kgs. So one unit will come out to be around 1.66 into 10 raise to power minus 27 kgs. So like this, we have a new unit to talk about what is the mass of the mass of any atom. Any doubts till now? I'll assume no.