Okay, I think we might as well start, there might be some late arrivals to join us. Best in please stand up. So first of all, former FIDE World Champion, and he was a fantastic teacher. We had a seminar that were for three days, 35th Saturday, and Best in you were fantastic. And thank you very much for that. And also for being here tonight and offering us what I'm sure is going to be a fantastic lecture. And then playing in the Masters, for which we wish you the best of luck. Best in to fall off. Good evening, today I chose to show the theoretical, what we call theoretical you, between me and Anna, between years 2005-2008. All the games were played in the Queen's City and I was always white. So what happens more or less is that, for example, imagine you play in the weekends, in your chess club, in your whole city, against some opponent, and then you play games, some certain openings, and then during the weeks you try to improve and then next week you play a game. And this is more or less what is happening in top events, that I met Anna with the white pieces 15 years ago in 2005. We first played in Vaikaze, what is now Tata, in January. Then we played, I think, first it was in February or February was Linaris, then it was Monte Carlo, and finally in May, Sofia. So if probably you see that many, many times on top level there are many, many draws, and sometimes people complain openings are boring, and the games are boring, and one of the reasons is that in these all irrefutable openings and classical openings, they will stand forever. And the ideas that white have mainly, they are limited, they are not so many good ideas. And at some point if you play, you can show good idea every week, in certain opening, and that is the reason sometimes they just repeat same opening once and again in a period of a month or two, and nothing really is happening with some small improvements. Okay, so I will start with our first game, the one I played between me and Anand in Sofia in May. It was played in May, and before that I tried always both in Vaikaze and in Linaris, I tried first move E4. I don't look at the comments of this guy, Chomkin. I just need the moves. And both in Vaikaze and Linaris I tried E4 and Anand played the Petrov defense, and in Vaik, black was completely fine, just a normal quick draw, nothing really happened, and then I was pressing in the Petrov in Linaris, I was very close to winning, but then Monaco I tried something else. It was probably a blindfold game, but the thing is that we played in the sixth round in Sofia, and then I just lost the round before to Ponomaru. By the way, I recommend this game, because there are events that I will always remember. For example, the first time I played in Linaris, it was 1994, and that's the famous Linaris when Karpov, he beat us, like he made plus nine, I think, 11 out of 13 games. I will always remember that tournament, I will always remember the one in Las Palmas de Gran Canaria in 1996. I think it's probably the strongest event in the last 30 years or something. It was Kasparov, Anand was second, I shared third with Kramlik, fifth and sixth were even Chuk and Karpov. So it was like top six ratings, double round drawing, I will always remember also Amsterdam, but for personal reasons. And also this one, in Sofia there were very, very good games. The one I said already, Ponomaru, he beat me, it was, I would say, a brilliant game. I recommend everyone to see it. The second, the next game after this one, was the one I won against Mickey Adams, but in fact I was extremely lucky, because he played brilliantly, and he was practically winning, and then he spoiled in the time travel, and not only spoiled, but he finally lost. But it was also a very good game. So this game is the sixth round. I just lost to Ponomaru, and we had a free day, you know? So I was kind of making, I had like in the first five rounds, four draws and one lost game, so I desperately needed to win, because if I was running out of white colours, you know, I had to meet in the last three games, seventh, eighteenths, ninth round, I had only one more white left, so if I wanted to show good result, then it was almost desperate to, I was desperate to win, and I don't remember Anna's result, he was plus one maybe, so I needed to beat him if I wanted to have a good result. So first game in this Queens Indian. One thing about the King Queens Indian, obviously it's a solid opening, and, okay, it is very obvious what I will say, but it can be avoided by, for example, by two moves. Knight g3 obviously, and the other way to avoid Queens Indian is g3. So of course there's nothing to be afraid of, simply it makes a bit more difficult for those who want to play, to study the, to prepare the Queens Indian, because you have to also study all the Nimso lines and also g3, which is Catalan. You know, people sometimes they ask me about some openings, and, okay, it's totally impossible to choose an opening and not to study some concrete lines, for example, and I've been thinking that maybe after e4, e5, let's say the Petrov is the simplest way, because it gives very few options for white. It's simply, you can either you go for Petrov, or second move, let's say, bishop c2, try to avoid it, but if you go, for example, e4, e5, knight c3, knight c6, black has to prepare against the Italian, the scotch, and of course the Spanish. But I'm not recommending Petrov, but simply it's kind of practical thing. Okay, so knight f3, g3, bishop here, so the idea of the check is to misplace the bishop on b2, on d2, to put it on d2, because after b3, obviously, the natural square could be on b2. So check, this is known. And now knight c3, okay, in the next games we'll also deal with the move, bishop g2, and now okay, the other move, okay, black has two moves, castle immediately, or c6. So c6, and now take take, bishop is 7. So this was more or less what we expected and the whole, you know, the whole day and the whole night before that round, my second that he plays here, Ivan, he was helping me for that tournament then, and he was trying to make it work, the idea we had against Leco in like couple of months before. I won a game on blindfold in Monaco, and it was something like this. In fact, it was similar idea, you know, but in fact it was, I think, completely fine for black and the reason he lost, it was obviously not because of the opening, so we kind of expected that Anand might repeat. So he went for bishop b7, you know, and now this was the idea that, okay, that would be nice of course to play c5, but it's losing a pawn, otherwise we couldn't make it work. So for the whole night, Cheper was trying to make work this idea, but the morning after he said that it was nothing, like black was completely fine. So, okay, it is very typical that, for example, I would say in this kind of situations, castling is almost always a bad idea because let's say, inclusion of h6 and h4 doesn't really help.  So it is a very typical way to attack, and of course it's also like h6 is inviting white to take, or let's say I can also take on h6, and then bishop h3, but it is very natural to open with c5, you know? So Cheper, in the night he couldn't make it work, but finally like maybe one hour or two hours before the game, we found this idea, h6, we had some small checks and calculations with the computer, which was much worse than now, of course, computers. Okay, all these takings are not so good because then somehow I can go like this, and then, you know, recover the bishop, and then it goes very quickly, white's attack. So it was expected that, for example, these kind of situations were also h6, h4, and then my next move is already going to see the attacking on f6 and k you made. So these are very typical motives for white, so we kind of expected that h6 was the critical, and then that was the idea, and I have to admit that, of course, we got really optimistic about this position because it looks like I want to give check on e5, and sometimes I also played d6, opening both the d's file and the diagonal, and it really looked very dangerous, so we were very optimistic, and I have to say that we stopped, and we were not very critical, but over the board, of course, things were not very simple. Anand closed, he didn't give me, okay, it's a very natural move, you know, you stop d6, you stop e5, and of course, okay, this is what, of course, we expected, 9h4, and again, it looked like all these takings are not so good because of bishop c3 and many mating effects, so white wants to play queen g6 check and knight f5, then, of course, I can place my bishop on c4, and he, more or less, you know, in this position, Anand, he actually, more or less quickly, he reacted, and it's a very logical reaction, if you think so. He simply covers the f5 square, so black doesn't allow white knight to go to f5, and it is very logical, I don't remember what we looked at, but we were not really critical and a bit over optimistic. So after bishop c8, I thought, okay, you know, white is pawn, queen down, piece down, so if I play developing moves like bishop c4 or queen g6 check, somehow I made some calculations, and I didn't like my position so much, and of course, you know, the thing is, finally I realized that the only chance to continue my attack and the initiative was to have my knight on f5, and that's the reason, that is how I could find this move, it's a bit strange, okay, obviously, that would be much better to place the other rook to e1, but I thought it was not, I was not in time. So after rook e1, okay, knight e6 is natural, and now I put my rook on e6, and again, the main idea is to, I realized it's more important, all the exchange, the material is more important, and I desperately needed my knight on f5, and of course, the calculation I did, you know, it's a very interesting position, the calculation more or less, what I did during the game, this for example here, something like this, that black is not able to take for the moment, because then I give check, and then I take, and this was more or less all I could do, but that's also what he should have done, you know, and it's white is not, it's just very unclear position, and even now, computer, I don't remember, finally from time to time I put this position, it's very complex, but he made this mistake, obviously I have to take, and now black is in big trouble somehow, because it's not so easy to find a useful move, and black can almost never want to take, so he made b5 to distract my bishop from the diagonal, but of course now somehow the idea of the move bishop e7 is to prepare the taking on e6, and then of course somehow you close the diagonal, but it just doesn't work, because here after taking I took, it was not the best move, but I think it was also good, it's not dubious as the comment, and check it is this more or less what I, this is something easy to calculate until now, so queen d4 is only move, and then black tries to repeat the moves, but I was lucky to, that here white is much better, for example in this ending, and it's a pawn up of course, but so eventually after knight f5 I could save my, white is pawn down, and white won, so I will not show all the game, so after winning this next day I was very lucky against Miky Adams, and from minus one I went to plus one, and eventually I won the tournament, not without black, so, but of course the thing about this game was that we knew that for example if black wants to avoid, okay first of all the position is very unclear, so it's not like white refuted, it's completed this line, and another thing was we knew this, we knew before the game that if black wanted to avoid all these sharp lines, c5 immediately was a bit more precise, because for example now knight g5 allows black knight to go to c6, so it's different, and if black takes, if white takes on c5 then b should be 7, and b should be I think knight with a 7, and these games, and it was played later on I believe, let me just show you, yeah for example in the game of Malahadku, but I think c5 was later on played already several games by Gristuk, and Magnus played also c5, the year after, you know, the year after it was, my game against Arland was in 2005, and this is time 2006, so again I won a game, but it was not even close to refutation of the Queen's Indian, so it was expected that some four months later in St. Louis the World Championship, Arland would repeat again the Queen's Indian, so of course it's difficult to, I mean you have to be naive to believe that it's possible to win two times with the same idea, and in this case we went for this long, long, very old tabia, you know, and here okay, there was just I think, I think there are many games already from the match, from the first matches of Kasparov and Karpov, there were already many games in this line, and then Karpov-Kamski played also, and here B2 take c5, c4, so take, and after Qg4, Bg5, White would be winning if it was not for the move Nd3, so more or less there was this game, I remember Bakro, you know, that I thought it was Bakro, some important game, that he went for Bb5, and then put the pawn on c7, and then it was a question, but from what we thought this was kind of a mathematical draw, it looks very dangerous, but apparently Black holds, it's not enough, because White also pushes his pawns, and then move by move, it looks like Black holds. So our idea was to play differently, and it's not better than, I mean, it's simply a new idea, it's not better than what I did there. So it looked to us that, okay, Black is exchanged down, White is exchanged down, but of course the bishop on d5 is very strong, and obviously the pawn, so we thought that, okay, there were some practical problems for Black to play this, it looked like White had no risk, and it was not so easy to defend with the Black pieces, but first of all, okay, objectively, the position is much closer to equality, it's dynamic, you know, it's not like, let's say, what they call dynamic equality, and Anand, very quickly again, he made a good reaction, h5, the idea of the move h5 is to, because at some positions the queen might go to g4, and of course it's also good to stop White's pawn to h5, you know, so, okay, nothing really happened, for example, I guess, I was more or less, for example, here, I can't play bishop f4 because bishop f5, e5, but okay, we were more or less doing nothing, and I would say Black equalized, so here, for example, if I take Black takes on c6, you know, and then it becomes pretty much equal, so that was not my intention, but now I took, and I took also this pawn, so again, situation is pretty equal, rook a6, you know, and I would say it's not a brilliant game, but the quality was quite high, I mean, not so, also no mistake, and here I think he made, started to make some mistakes, and especially here, queen a7 was very, very big blunder, because after queen d3 I'm attacking both, or g6 and on d5, and Black is already in big trouble, not only because White is returning, winning an exchange, somehow, for example, if Black plays king g7, then I can push my pawn on a4, you know, and otherwise that would probably not be such a, so easy to win, but with, after, for example, in this position, let's say after king g7, if I take, take a4, even some of the opposite square endings, if in, let's say after queen d4, that could be lost, and it is probably lost, because White is able to create two past pawns, one on this side and the other mage, so White would be able to, you know, to advance his king, and then Black has to keep the defense of this flank, and also this pawn is almost useless, so again, after this, here I was completely winning and I missed, but I was completely winning and I missed, but still, you know, I didn't feel so unhappy, because it was the second round, and it was important, obviously, because I considered Anna to be the favorite, okay, my main rival for San Luis, for the World Championship, but then, because the game was so long and I'm a bit younger, I thought it was, you know, like, okay, like the outcome, the final outcome was not so bad, I mean, for a long event like World Championship, then it was 14 rounds, you know, I thought it was the one, the younger players have more some advantage, and long games eventually would benefit me. Okay, that was in September 2005, and then next year, I think, I was playing E4, we didn't play so many games in the year 2006, and I think both games I played E4, I lost badly in Sofia with White, Anna was playing, I think he was playing the Marshal, and okay, in that case it was, I was avoiding the Marshal variation of the Spanish, and then in 2007, again in January, played the Queen's Indian again, so this time I didn't play Knight C3, so we went for a game for this line, and it's very strange, because honestly I don't remember what my idea was to play if he repeated, I don't think I would have repeated what I did in San Luis, but at the same time, if I had any idea, I don't think that would be a big deal. But this time he was the first to deviate by Knight F6, so here after E4 taking, because for example the move B5, if I'm not wrong, it's Anand himself that won a good game against Adams by very typical sacrificing, it's a very typical sacrifice, and then he won a game with the White, I think he took with the mission, and then the idea is to advance the pawns, it is very typical sacrifice, and he won that game, and eventually I think White is better in this kind of positions, so he took, OK, D takes, and I played A4, OK, so my idea is to stop the move B5, and immediately he played Knight D5, and I took, he took D6, otherwise I think White would be even worse, you know, take this is kind of forced, and here Black has to defend his pawn, and I didn't really expect exactly this line in Vaikanzé, because I couldn't really remember my preparation because it was like around six months before I looked at this line, and it happened, so I remember there was some Indian player involved, but after the game when I had to comment I think I said some, maybe it was Ganguly what I said, I thought that it was Ganguly playing with the Black pieces, but it was in fact the game Sasikirian playing White against Motilev with the Black pieces, and I remembered we had something, but I couldn't really remember what our preparation was for this line, but there was something that we didn't like for Black, and I'm very proud, I couldn't remember but I was able to find the best move, which is B4, so the idea of this move is that if White, for example, plays the natural move, Queen E2, Black plays C5, and when this pawn is exchanged, for example, then sometimes the B3 pawn is weaker, so my idea was that after the B4, that every time that Black plays C5, then I take my, with the D pawn, and I already create my pass pawn, so it is huge improvement for White to have the pawn on B5 and not on B3, because it's not attacked, and of course it also gives the perfect square for the knight on C4. So, and here, after B4, I was just looking now, because from time to time I look how computer improved, and sometimes they show good ideas, but back then I think, I don't know which was then the best computer engine, but it was not really showing this move. I guess otherwise Anand would have known it. And okay, so what happened in the game that he played Queen D7, and putting on the Queen on D5, so now it looks like Black has two pawns for, you know, and should be fine, but the same time position is really passive, because rooks are much, somehow, they're in a situation only to defend, but they're not active. And of course it's not so easy for Black to create a counterplay. Every time he tries to open a file, I would always respond with G4, and then this pawn would become weak. So, okay, H6 is, and of course, for example, A5, this pawn is weak again, and of course the pawn on E6 is weak, and I have perfect squares. So H6 looks the typical useful move. So I attacked rook E8, and I moved my queen to C2, with the idea to put my rook on E5. So now rook D8, it looks like Black plays all the natural moves, but suddenly his position became very critical after Queen D2, and it's also true that the problem is that Black is passive, and White has many, many useful moves. I can put my pawn on H4, for example, you know, to always, for forever, stop the move, G5, I can put my bishop on F4, maybe then E5, and then try to put my knight on F4, and it's perfect coordination for White pieces. So Queen D7 back, I made a useful move, just a waiting move, because I didn't want my king on the light square, just in case, you know, and bishop F4, he was, Anand was just waiting, and I was improving. And so this, during the lunch, today we spoke a bit about Nimsovich and something, some of, about the over-protection, or either prophylactic. So in fact, A5 is not really a big, a good move always, because it creates weakness for the pawn on A5, but what would be very good for Black, if it was possible, was to exchange one pair of rooks, then the White's advantage would be much, much smaller than the now. So immediately I stopped this, and I think it was not even the best move by the computer, but it looked like the most, how to say, psychological, the most unpleasant move for my opponent, because it's like saying, forget about this move, about changing the rooks and playing A5. So after rook A8, I improve again my position. I'm not sure about this move, because sometimes there was some small tactical idea with B5, and maybe I don't remember if it was C5, so maybe it was not in this position. Bishop c3, Qd6, and now again I tried to, I tried to already improve the position of this, my knight, so Nd3, Nf4 is coming, and then of course, one would be hanging. So it's obvious that Black cannot simply wait. He played B5, Qc5, and now after Qd8 I played Nd3, and he resigned, but I think it was clearly premature. White is better, but I don't think it is completely over, and I've seen many turning around in all through my life. But it's also true that it is disgusting to play this kind of positions. So it was a big win for me. In 2007, in January, and then in a month, we played a game in Linares. This game I think was played in Mexico, the first part of the Linares tournament, and then it was taken back in Mexico. I think Chucky was also there. So we repeated the same, and honestly, what happened is I can say that after, after I played A4 and Nd5, after taking, I told Vishu, you could just take and it looks very, very good for Black, because if, for example, White has to play R1, Rc8, and then Rc1 is not possible because of Bb3 and Bd3, so I said I have to play like this, and it looks very good, Black has two pawns, like for example Bb4, Black wants to play f5 or Qg5, and it looks really strong compensation. I even thought it looked to me that Black is even better. So this morning I checked, and in fact I was completely wrong because there are two moves. First of all, here White can exchange the bishops, but even stronger is if White plays, okay, it's a computer move, it looks ugly, it's also true that White is exchange a piece up. So Nb1 regroups, and I, in the future, I can put my knight on c3 after Bd2, and it looks like White is better. So honestly, what was Vishu's idea after A4 here, I don't remember, but probably because we didn't both correctly, I didn't repeat the move A4, and this morning I looked a bit, it looks like White is slightly better, I don't know, maybe he had some very deep idea, but in that case I took, which is also a good idea, good move, and after B5 for example, now there are new games with knight c5, which looks very natural, and this, so for example here if Black, I think there's been games with Qd3, and I think Qe5, so there are new ideas for White, so I don't really like this idea with Nf6 and taking for Black, but in the game in Morelia, it was a very quiet game, for example here, it looked to me, I think that was kind of preparation, we believed that White has some advantage, but it turned out not so much, somehow maybe I didn't play precisely, so it was a very equal game, then it went like this, and then here it was a draw. So that was in 2007, and then in 2008 I think I was also playing some games, first move against e4, but the crucial thing happened in the summer with my wife, she was my girlfriend, we went to Mallorca, and then Paco Vallejo was helping me, so it was not really a big training session, in the morning I was working a bit with him, and then afternoon we were going for the beach, it was very light, like around a week, and like half holidays and half work, but the most important thing is one morning he worked in the night and he told me I think I found a very good idea, so what happened that was announced, for example, and that was in, I think it was in August, and then we had the final of the Grand Slam in Bilbao, at the beginning of September, I think even Chukchi also played, and then again it was Quince Indian, but this time I played the move Quincey 2, in fact it was Vallejo who made it popular, I think it was in Torino 2006, if I'm not wrong, and the idea, it's a completely new idea to sacrifice a bone, and it is very, very dangerous, and I think Anand, what happened was that he played in Bilbao, and immediately after, already as a world champion, he had to defend his title in Bonn, immediately after the match, so it was obvious that in a way he was hiding his best preparation, and he was not paying attention maybe to this, and so the thing is that after Quincey 2, the idea of Bako Vallejo was that white sacrifices a bone for an initiative, and now there are so many years after, I think finally black found how to defend, but there are many tries for white, and black has to know exactly what to do, so okay, B7 can be a bad move, so now castling is losing immediately because of Qe4, so black has to play either, I think, move the knight, or Qc8 to protect the bishop, and I think also Qc6, so Qc8 then was popular, and it was considered like the best move because after, for example, e4, white could, black could go to c7, and after, but after a3, black was going to c6, and now there was some game after Nc3d5 here, here, and then eventually black was holding, so what finally Bako Vallejo found was that if instead of first Nc3, black, white plays Bg5, then black wouldn't be able to take on f6 with the knight, he doesn't have time for the move Nb7, so after Ng5d5, Nc3, okay, I'm threatening to recover my pawn with an advantage, and d4 is not, is a mistake because I think the move Qb5, and if the queen goes to the d8 file, there was something like Nd4, something like this, Nxd4, Bg2 and Nx6, so it is natural that black takes, and of course this was, if I'm not wrong also, e4 sometimes was very strong, so taking is natural, and for example this also gives some advantage to white, because of my pawn structure and somehow the black king is a bit weak, I have many options, but even without king side initiative, white has the d file and some positional advantage, so Nx6 looked better than immediate castle, because the knight on h4 is not as good as on g5 somehow, for example here I kind of also recover, I don't like the comments of Bosnia obviously, but okay g6 is almost, the very typical defense and we all know that the knight on f5 is very dangerous, so you better stop preventing it, take castle, but again here I have some positional advantage and I control the d file, so Nc7 looks very logical also, because it's obvious that the knight is not so well placed on a6 and Qd7, Nx6, and I played the natural move, Qe4, so black has problems with a bit of coordination and again it is, sometimes the pawn structure, it is sometimes the initiative and sometimes it is that even the ending could be worse and of course the biggest problem, black's problem is the d file, because for example Rd8 it's not possible, because I take and my queen goes to e8 with check or to e7, so Qe8 is a mistake, because I think here what was announced idea was to play Nd4 and this is what I considered as best defense, but then after the game he told me and he was right that he considered this position as lost, but maybe still it was a better option, because as we know some white has a very good initiative and white dominates the d file, but at the same time I have very bad pawn structure, so even and also it is also true that many rook endings are drawn even with some pawns down, so again white is much better, but I think it was a better option for black compared to what happened in the game because after the move c4 I played a natural move Qh4 and then I mean I could have taken and it's probably also very good, a clear pawn, but I thought Qh4 was even stronger as for example here white wants to play Rd7 and sometimes double, so Nc5, Rd7 and then he played Rd8 but already black is in big trouble because for example as it happened after Rd8 I just moved my rook and then he has to move his queen and for example to c6, but the problem is that this pawn is very important and black is not able to take on f7 because I'm winning the rook on d8 so he resigned and it was a big blow for him so eventually I won and this was in 2008 and since then he's played very very few games with the queen's Indian it's not like I wouldn't say white refuted that line but apparently after this game he didn't like it so much anymore but again it was very interesting what happened in Bilbao because I think first the second round maybe I played against Chuki and it was some game in the Nimsu I'm not sure if it was the second round but the thing is that in this line I was black so we went to this ending and it was a draw and then of course I played also with Anand it was a round robin I won that game with white in the queen's Indian and with black he played something very simple I played Karokan and it was an equal game and we exchanged main pieces it was a draw but what happened was that for example it turned out that Anand had a very good idea here for white but he needed it for the World Championship match in Bonn and it was something like this and I don't know if it was something like this and then Bishop d2 and then he played or maybe it was first Bishop d2 and then he played h3 which was then a new move let me just see I'm not sure and exactly and then it was a new move h3 and it was a very strong idea and finally I think he didn't win that game but he was very close to winning it so what I'm saying is that he simply kept that idea for the World Championship match and in a way I don't know what would have happened if he played it in Bilbao against me but sometimes you realize how lucky you are when because your opponent needs his best ideas for more important events I'm sure that you would perhaps take some questions from the audience on anything that Wesson has shown us tonight or perhaps on another subject that he hasn't touched on yet so put your hand up and I'll give you the microphone maybe who would like to ask Wesson the question don't be shy come on I must be some questions just about his career or anything someone no one in the room wants to ask Wesson the question Paul Paul which player is playing at your level which player frightens you the most which player is you afraid obviously well now obviously it's very obvious that Magnus is for the moment the strongest but all through my career I think one of the problems was sometimes that when you play someone with Kasparov and with the black pieces he was so creative he just didn't know what to expect and sometimes the problem was just to get to survive the opening and now it's easier I think now what Magnus does is even more difficult because he doesn't win so many games as Kasparov did he was not getting so many advantages compared to Kasparov right at the opening he wins his games later and it's I think he deserves a lot of credit for that but of course all these guys they are very good it's difficult to say the question Hello I read an article recently in which Carlson explaining how AlphaZero have changed his style a little bit I think you'll say that I'm not sure I hadn't read it properly actually as AlphaZero had the effect on the old games or in the other Grand Mars games that you know of AlphaZero Veslin what do you think about AlphaZero's effect on Magnus and on chess Honestly I never worked with AlphaZero I saw only one that famous game it was also Queen's Indian from the match of AlphaZero against Stockfish but it didn't really I mean it's from my perspective it doesn't change anything I don't think it can be such a big style difference even in that game my impression was that the reason Stockfish lost was because probably they reached a position when it looked like two or three moves were equal so Stockfish was because I think the rules were that every day they had to make a move probably with more time even Stockfish would have realized that there was a difference between the options but the level was kind of it looked to me that Stockfish was resisting but it was maybe a bit worse but I couldn't see a big big difference honestly in that game but I from a human perspective I just don't see the difference between some computer that plays like 4000 rating or 4500 for me I just don't see the big difference and when we prepare it's a matter of sometimes of seconds if I have my laptop I don't think it's you find many more that big ideas with some stronger computer just a matter of some seconds in most of the situations maybe it matters it makes a difference in some very very complicated positions but I don't think my impression they are beyond humans capacity I don't think it's a big difference honestly but again I have never tried to work with AlphaZero and I didn't even know it was possible actually I'd like to ask you a question on the back of that question from the modern to the past in your career how much time have you spent much time studying the games of the old masters the classic games from the past what can you say to the audience today about the value of looking at games of Aliekin, Kappa Blanker and you know the players of the past as a kid obviously I did read all these books but not that profound studying the books because I'm sure that now in the modern games in the modern tournaments they've been also very good example of model games but again I've repeated during the seminar the differences that in the past there were many games where there were many games where one of the players was not really putting a good resistance and that is the reason that all these plans are very visible in a game but nowadays if you want to put your all your pieces on the best squares I don't think your opponent will let you so easily like it was in the past games and that is the reason people say this is a classical game because there was not so good resistance I believe but again I think now there are very good games and you can see all the plans strategical ideas there and in modern games as well but it's also true that for example in Blitzworld championship nobody wrote a book and maybe there are good games there but we have these books like the Brunstein book probably several more but honestly I'm not a specialist in this question because for many many years I just don't buy books and really I'm not really a specialist but of course as a kid I did buy and I read my system of names of each but honestly I don't remember much how do you train to improve and can you give us a few quick tips on how to improve once chess? Well it's not a secret but one thing I would say that now my impression is that the trend is that every time the tournaments will be quicker and quicker with shorter time control and I don't think it's very possible so easy to make a big difference in the opening I mean the first 10 to 15 moves there are more or less the same for everyone so clearly a good way to improve and to make a difference is to be very good in endings to memorize the theoretical ending as long as it's possible and of course all this training especially calculation should be more important because 80% of the games are decided by or maybe more I mean it doesn't really matter exactly the percentage are decided by tactical mistakes so if you have if you can if you're very good in calculations even if you're worse then but you defend correctly it's not so easy to win and but of course that has to be combined with good physical condition because our brain it's not like this it's not linear it goes like this so so if we are able to be stable you know to have a high high level average level that would be good but calculation and ending quick calculation and knowing the basic theoretical endings let's say several hundred positions maybe and to know to play them quickly not only to know them but to remember them quickly I believe it's very important now for practical reasons thank you Wesson Prusid you had a question yeah 960 no? 960 just 950 isn't it no it does it makes all the sense I don't think it will always follow for the near future you know the normal chess but it makes all the sense because you know you start thinking from 1 or 2 and but of course computers they would be even stronger compared to humans because in normal chess we with the normal setup at least we can put the resistance in the the opening because we've started and we we know many typical positions but I think in our a match between human and the computer in 960 would be almost like 100% win for black for the computer and also much quicker than in normal games but that's not the point it makes I played with Gary and I played with Wesson so and it is very big fun I like it but the only problem is that some positions I think that there was one position when it looked to me from why it had initially very big advantage for some reason you know it's always symmetrical but my impression that why it was much better from the initial position you know but I honestly like it so you like the chess at 60 another question here hi so this is with regards to your previous answer with being tactically alert during games so do you have a routine or regimen that you follow just before the round on how to stay tactically alert during the game like would you have some advice on how to stay on top of the tactical it is training but of course honestly you're asking me in the wrong moment because I'm not training anymore you know I'm not really trying to improve my chess now but but well I believe that you should because we don't know how long the game like in this for example tomorrow when we start you don't know if it would take 2 hours or 5 hours so you have to be used to save energy you know and maybe not get distracted too much concentrate before the game not spend too much energy and about critical moment I would say that almost always spending over half an hour is a mistake I don't think it can be a good idea but the critical moments for example when you have to it's a matter of very precise calculation about some when you have two options or for example when you have to play sharply and to risk or to change the pieces imagine and make a draw for example and this when the game is really decided but sometimes there's honestly it doesn't make a big difference if you put your book on C1 or D1 and it's not worth to spend so much time on it time travels in my case it's always always being a mistake and of course the differences during the seminar I've been saying that it's a bit a bit different when you train all these position studies and calculation study is that when you train and you have some position you have to solve at home you know there is a solution for the study but over the board you're not sure you don't know if it's winning but of course training is good because this typical sacrifices and stalemate studies of course you if you decide if you solve many of them of course it is useful but over the board it's different and it's also it's also true that when we train at home many times we have the ideal situation when you if you're tired you can take a rest you know but many times you play in a time travel in the last round of the last day of the tournament on the sixth hours hour and you're very very tired so competitive chess is different from the training but again I believe that also one has to try I mean even when you train at home and the neighbour has the radio you can have this situation also during the tournament it's not so bad it's never perfect in life it's it's I don't think this question has an answer but I would say it also depends when they played if you meet imagine Kasparov and with Magnus in the 80s I would rather take Kasparov because he was really creative and over Magnus he would have some quite serious advantage in the opening but with computers now in the 21st century because now you don't really you can't really make a difference in the first 15 moves or sometimes even 20 things would be completely different because Magnus he's very very stable he has maybe he's not as creative as Gary but also he's probably more stable his ending technique is probably better and let's say his calculation and dynamic is maybe not as good but also let's say if they have to calculate short lines Magnus almost makes no mistake but if they have to calculate imagine 10 lines line maybe then Gary will be more dynamic but it's difficult to say because first of all impossible to compare and I can speak more about Magnus and Gary because I've played them but Fisher he stopped when I was born so I've seen his games but they were brilliant but again we all now see what Magnus is doing it's really impressive but Gary's been watched number one on rating for 20 years and so far Magnus is halfway but of course he's young I mean he's around 30 now so probably he will get close but again it's very difficult to compare and I don't like this comparison ok let's see if we run of course


This is Dennis McMahon and welcome to Positively Vermont and Today, we are going to be exploring Essex Junction's dark room gallery and a Vermont photographer Who is going to be exhibiting there in the very near future as well as some other aspects of the work being done by and at the dark room gallery which Is a very familiar locale in beautiful downtown Essex Junction Near the railroad station and a very great addition to the entire community and perhaps the state and my guests are Ken Cignorello of the dark room gallery and Peggy Reynolds of Vermont photographer Welcome Ken and welcome Penny Peggy, welcome Peggy. Dennis And of course tell us a little bit about yourself Ken, please And the dog on I'm a I do some photography. I've done a lot over the years. I'm a study photography in college And when this space became available 12 years ago It became empty. It was empty for quite a while. I looked in and I says, oh That looks like a good place for a gallery long and narrow And there was a model gallery that was going on in Middlebury That we thought was a great idea and what they did and what we're doing Or did do was we ran juried photography exhibits where you would set a theme find a qualified juror And then ask photographers to submit their work for a small fee That juror we got a thousand maybe two thousand images or so in for a particular show And then the the juror would select the cream of the crop about 50 or so images and those would be sent in either on paper Framed or we would print them and frame them and we would hang them and show Have a show for about a month and we had a reception where the artists would sometimes come if they were Not too far away and that worked out pretty well. We did that for 10 years We did about 100 shows But one thing that was consistent is one particular photographer tended to be in almost every single show selected consistently and She was local and I mean really local. She lives right here in Essex Junction and So in covet hit we kind of shut down. It was a difficult situation. So we just shut down for for two years now And we're getting ready to open up and do something and I felt we do something a little different and we give a show to Peggy Who's got a lot of great images. Um, she's been studying a practice in photography I'm studying herself. Actually, you'll see the lot of the work that she has is um our self portraits and So she'll be hanging um her show. When is your show start? We have to go look may 10th something like that may 13th may 13th. There we go I think it's a friday. Yes, it's friday the 13th. Good luck And um, so that'll be up for a month and then we're gonna have a reception on 20 seconds. I believe it is Yes, it is So Dennis if it's okay with you if you have no other questions of me I will turn things over to Peggy. Let me ask uh, uh, Peggy, uh, tell us a little bit about yourself and your work Well, I originally started it off as a hobby. Um, a long time ago Using film and doing darkroom work and then I just stopped doing it for the longest time Then I took it up again And I was posting work online And then I found that I was experiencing large amounts of art theft and then I thought well if it's good enough to steal Maybe there's something to it. And then it's when I started um entering juried exhibitions What do you mean by art theft? Who was taking that they were taking it from the line online, right? And they you know, it would end up on commercial websites People claiming my work as their own it wound up in Photographers portfolios. It's it was just crazy My invitation is the highest form of flattery, but it's illegal This is true, but I thought well, I I didn't think my work would you know I didn't have a thought about like the quality of it I just do it because I enjoy it and I said well, maybe I should try some exhibitions. Maybe maybe it's pretty good Right. And what what? Type of work is it? I'm you know today is it's kind of difficult. I started out in college and we were you know We were taking pictures with camera 35 millimeter and developing them and People are just taking up with with phones Tell us your medium and how you work with Well, I still like film. Um, I started out with film. I still have my original film camera It's a Olympus om one end and I also have my dad's role of Lexity gave me sets kind of cool But um right now I'm using a Canon 5d mark 3 digital And how does that work? Does it produce a computer image or or do you develop? That's what I'm trying to get at Oh, okay. Um Well, it makes the digital image and then you you process it online with software. I mean process it on your computer with software As opposed to going in the dark room Um, the thing is I'm trying to marry both in a way. I like the look of film So I try to make my digital photos look like film as much as I can I also prefer a more vintage kind of look to my photos That's kind of that that's the um, that's what I try to do. Anyway I see so that's that's very curious because uh um There are people who work solely in in each different media Uh, but the idea of melding it, you know, again, I I feel that personally I take a lot of What I I don't call photographs home pictures and you know, uh, that's fine people say they like them but To me as old as I am I still think of the But the cameras with the f stops and the lighting and through the settings and all that You still have to do all of that. I have to I do all my own settings, you know f stops and you know Everything and the lighting is always critical. It's not like some magic box where you just point and shoot I see so what when did you uh first find that uh, you know, your work was being replicated Oh, I guess around 2012 2013 That's quite a long time ago Yeah, it's still happening. I just if it's online someone's going to take it. That's just how it is What types of subjects uh intrigued you in the beginning and what types of subjects are you working on now? Um pretty much anything that catches my eye. I do Well self-portraits obviously, but I also do landscapes. Uh, a lot of I did a lot of new york city street photography I'm architecture urban exploration wildlife pretty much Pretty much anything that look oh still life anything that's of interest um, mostly what i'm trying to do is convey a concept or Convey something to happen in my life and I I wonder how would that represent be represented in picture form that kind of thing So it's kind of like a visual diary for me I can look at a photo and I knew exactly where what I was feeling and where I was at at that point in time When did you start doing this personally? Well a long time ago, um Originally I started uh probably like 30 years ago and then I then I didn't do it for the longest time and then uh I guess around 2008 I started doing it again. I was doing um metal work And I didn't want to pay anyone to take pictures of my photo of my work for because it's expensive So I did my own because I didn't use to do photos I whipped out my film camera took my photos for an exhibition for my metal work And I've had gee I forgot how much fun this was and then it just progressed Tell us about that other uh Form that you were metal work. Tell us about that Well, I was taking um jewelry classes um at the shellburn Craft school and then I was taking also private lessons with my uh with a metal working teacher She had like a studio got to use all her stuff Which was cool and then she entered some of my work in an exhibition, but I needed photos And I wasn't going to pay what she pays for her photos So I said well, I'm doing it myself and at that time I was using my film camera So I used um my Olympus, but I also took some of my work with um my dad's roly That's amazing camera. It's the one you wind up uh like oh yeah And you and you look down at a viewfinder and use um 120 film And I just that's like my favorite camera I remember old news photographers using those Many years ago When I was a cub reporter That that's really interesting. Now tell us about this exhibit that's coming up How are things going to be arranged and what will people see? Well, um, there's going to be 51 photos um taken over probably about 11 maybe even 12 years as a period of time and it's just like Maybe I made up a story and it was I'm a character in the photo or Or something or some emotion I was feeling at that moment and I wanted to express it in an image or um or a concept Like For example, one of the photos um, it's called under the influence It's how media affects people's perceptions and and how it affects society and I have a photo that represents What that would be about how that looks to me I see the the title photo there on the There's a framed photo Of the poster the poster is very nice It's in ken's window and I see it or another place to tell us what that photograph The name of that photo is autumn air and it's kind of like That's good. Um That's um, it's kind of like the personification of autumn air If it were a fairy or a person, I love the smell of the air and in autumn It's just very crisp and clean and and I think of when I think of autumn I think of the color of the leaves So I have red balloons capturing this air and then of course there are legs because it's sort of a personification If if autumn air were a person That's what it would look like That's brilliant. That's very interesting And why did you chose that as your Dean photo any particular reason? Well, I kind of there's a lot of different kinds of photos. Um, but that one has um I usually do black and white, but I thought the color looked very appealing and it would be catch the eye Well, that's very interesting uh, uh in black and white. Um How does how does that work in terms of But let's say, you know, we live in a very colorful state with our autumn leaves and now we're getting a bitter greenery and all of our Snow, of course, which is white. How does black and white? help Convey what you want to You have the absence of color You're focused on the emotion of the image it convey black and white conveys an emotion like like Nothing else color can be a bit of a distraction For example with black and white you have um shadows and light you have contrast and it can convey something Really powerful, I think I've noticed even at some some photos that are are taken in color actually look black black Uh, I saw something that happened to me with that I was making do I have this right but no it it came out black. Do I even know it was of a color subject? What could be it was just um the colors probably were just muted for you know, whatever the lighting was Maybe it was a gray day and they just didn't pop That's great and what um What has uh influenced you in terms of the the vermont environment in terms of your work The backdrop of vermont it's so dramatic And and you get the feeling like something happened here You get you know, it's just you'll go in go in different parts of a forest And you just feel like there's there's a kind of magic and swamps have a kind of magic to them or even um Like with urban exploration, you'll see like a ramshackled um building at sort of like falling down But you wonder who lived there. I know you just get the sense of a story. There's a lot of drama here Yeah, I can see that particularly downtown Burlington just a lot of things that are not there anymore You know the the site down there near the uh city place site You know just extremely grim no matter how you take it, you know, whether it's color or black or white I took a few photographs of that myself Not for artistic reasons, but just for journalistic reasons So that that's amazing stuff. What about people do you do any portraits of people? um mostly of myself or um my I've also taken quite a few of my family My favorite model is my daughter We have I have a lot of lovely photos of her as well. She was a a willing model. Thankfully Great What do you do with your self portraits? How do you work that? well I don't know um Well, I I have the camera setup remotely, you know where I can just I had a have a remote button to release the shutter I have another one that's just for the um for the flash And I I have like a and pretty much anywhere it'll be I have a little room set up in my house. That's like my makeshift studio But it could be my daughter's bedroom. It could be my driveway. It could be my backyard It pretty much anywhere That's great and and what what um, what's next to you uh, are you planning other other exhibitions or Any other uh projects such as maybe uh, I know There are always projects. Um I have a pretty huge catalog that I'm trying to organize like I have a ton of new york city street photos I have um A lot of california desert photos that I'm I'm putting together because it was very German In a way, it's funny the desert in a way is dramatic the same way vermont landscape is dramatic You sense that story is happening. You know something happened here. It's very beautiful very almost exotic and um, so I'm trying I'm organizing everything That's great and Will people be able to buy these photos or or uh, yes, how does that work? well, um At the uh darkroom gallery for the show the all the photos are for sale And I also have a catalog with all the photos that are in the exhibition Which is the catalog is also for sale And how big is that how big is the catalog? Here it is Ken is doing a great job here. Yes. He is what happens when no one is looking. That's the theme Yes, come up with that from what happens when one is looking A lot of these photos i've done like Out of doors like for example the balloon photo I kept thinking this is really strange if the neighbors see me i'm going to die um Because i'm there with the balloons and I figured well Hopefully no one will ask what what i'm doing I've had other photos where i'm in costume in the forest across the street from my house And i'm thinking if anybody come is coming you through by for a walk and they see you with the camera and the costume It's going to be a little weird, but so it's pretty much When no one sees me and i'm i'm doing experimenting Great And uh, maybe we can get ken back here for a second and uh Maybe he can right i'm right here. That's okay. Tell us like This you're having an opening reception. Uh, we are in here and tell us what's going to happen there Well, the receptions are pretty simple affair. We'll have some refreshments obviously and people can come in over the course of the four hours I believe they can meet with Peggy talk with her. They'll learn a little bit more about each of the images um find out if there's something that they were interested in to purchase And um, yeah, it's an informative kind of a thing, you know, they'll they'll see other Things here at the gallery. We have some items on this place some old cameras and things So um, it's an interesting place to visit regardless That's right and will you be uh Speaking to uh to the group or uh, just be available We don't well i'll be here and i'm gonna speak to anybody that comes in certainly But um, no, we don't have any like seminar sort of idea at this point schedule But i'm usually when as of happening at the receptions and we've done a hundred of them um, you know folks are intrigued by the images and um, we have conversations And um people learn about what's going on with the artist is trying to convey It really varies from show to show and how many artists show up But in this case we're lucky we're gonna have all the images with Peggy's And she'll be able to explain her process and her work and what she's trying to accomplish That's on may 13th. What time will it start the show opens on may the 13th? And the reception is on may 22nd Uh Double check that yep may 22nd from four o'clock to seven p.m So it'll be open over the Memorial Day weekend. That's a pretty busy weekend here in Essex Junction If you know about the Memorial Day parade, it'll actually be on again Um, it's been off for a couple of years. So this year it's back So that's a big event. There'll be a lot of foot traffic and people will be stopping in certainly That's not the day of the reception But nevertheless that'll be a nice Some opportunity for folks to come and do two things come and see the show and see the Memorial Day parade That's really great And the catalog is that out yet the physical catalog? Yep, the catalog is here and um It's really really a lovely catalog Peggy did an incredible job putting this together. I mean some of the images in here are just Fabulous if you take a look That's really beautiful One of my favorite images in here. Where's the one with the hat? That's that's I think my favorite Yeah, here it is This is an image I think It's just exemplifies Peggy's skill level. This is this is a mastery of photography That really that really looks like some of the relatively famous photographs. You'd see I guess in Wolves or something like that. Can I talk about that image? Yeah, I can um I I love Photography from early photography, but I think my favorite is probably Uh late fifties early 1960s, you know, I'm thinking like look in life magazine that kind of thing and What do you have burn and like that that kind of look? I that a lot of my photos have that have that feel I I just love the way that I don't know that was that that speaks to me I love that style That's great What would you tell somebody? And can't uh chime in two of these there What would you tell someone who just wants to get started in in number one collecting? Collecting and then someone who wants to get started in maybe doing their own work their own artwork Well for collecting you should always choose what you like don't choose what you think will Increase in value choose the things you love if it speaks to you if it strikes you that's what you should collect Now as for being a photographer Um, I'm not formally trained. Um, the best way to do it is take lots of photos Try different types of photography, you know styles and see what what works for you Generally, if you take a lot of photos, you'll what I found is I tended tended to go towards a certain style Towards a certain certain subjects. So you'll find that if you do enough of it It's not like a once a week thing. It should really be like um dally take something every a little every day In my suggestion if you're not going to go through a formal education process Which is useful because you get some history of photography as well and you'll be exposed a lot of work from photographers over time if you're coming from a do-it-yourself sort of perspective the alternatives there are Take images a lot of them certainly but maybe get involved in some groups where you You value the opinion of others that are in the group And find out if your work is accomplishing what you think it should be accomplishing and what your goal is Or maybe even get some pointers as to how to accomplish something if you're not quite getting it That's another way to um to educate yourself. Um, also youtube videos are really helpful. Yeah, definitely I've learned a lot from youtube from a technical standpoint.  Um, I also like for street photography I had no clue. So I saw like different methods people use like they would hold their camera like maybe like A little below their chest and then start clicking so they wouldn't look so obvious You don't want to have it up to your face that kind of thing There are a lot of techniques both in terms of lighting shooting And um, that's something you can get from um looking at youtube videos Certainly or post processing just like in the old days dark room. You had to learn how to dodge and burn These were physically technical skills. Well now there's more Different kinds of technical skills and youtube is really really good for that Right and uh, I know uh chan has a facebook page. Could you tell us your facebook page there? Or do you have a website as well? The darkroom gallery has a facebook page facebook.com slash darkroom gallery And there you'll see um Information about this show. There's an event that's set up and you can subscribe to that and be posted and then we'll Put little updates on there as well And uh, Peggy, do you have a website or or? I do it's um, it's Peggy Reynolds studio.com It's not open to the public right now because Because there's so much art theft, but it will be open soon. I just have to make it a little more secure I understand that I understand that and can tell people who might not be as familiar as I am with the with the location It's on mainstream. Give us give us some directions. Oh, everybody knows gallery The way the five corners are right The five corners are an extension and the darkroom gallery is out the five corners right next to martins deli Which is a very famous spot around the corner from the um track in the bus station That's not a railroad avenue. You just come around the corner. We're on main street 12 main street Right between the um the bank and martins That's right And once this is over, uh, do you have any plans for any, uh, very good question What will be happening in the gallery after Peggy show? It's hard to say Um, I'm not sure we're gonna go back to the jury to exhibit model I mean it was it was wonderful and we were providing a good service We were giving exposure to artists and then we discovered Peggy So there's a lot to be said for that model And um, but um, I'm not sure one thing I'd like to do if I can um get my day job to ease up a little bit I'd like to start doing more of my own work I do a fair amount of photography also, but haven't really been able to focus on it the way I might like to So maybe I'll be showing some of my own That's great. That's very interesting stuff Well, I want to thank you for appearing on positively vermont My guests have been ken singerello of the dark room gallery located on main street in beautiful downtown s function And photographer Peggy Reynolds Will be exhibiting her work on starting on may 13th And a reception on may 22nd And hopefully you'll see the posters either in the window or online and Stop by and see it. This is really a very interesting Group of work that you have Thank you. That's great. Thanks for having us. Thank you. Thank you. Ken and Peggy This has been Dennis McMahon and this has been positively vermont. Thank you for watching


Hi everyone, Joe for jaspyscasebreaks.com coming at you with the random number block randomizer for 2022 NT Baseball, National Treasures Baseball Picker Team number 50. 20 teams involved in this. Some nice ones too. These are the teams in the random number block. Big thanks to this group for getting into it. And congrats to the people who won their spots in those two Dauners filler breaks that we did. Thanks to the people who bought their spots straight up. There are the numbers right there. Make that a zero. And let's roll it and randomize it six and a six twelve times. One, two, three, four, five, six, seven, eight, nine, ten, eleven and twelve. Alan Jackson. Alan down to Jackson. Country. Six and a six twelve times. What's everyone's favorite Alan Jackson song? Four, five, six, seven, twelve and final time we got zero down to seven. All right, Alan you got zero so you'll get any and all redemption for those 20 teams right there including one-of-one redemptions. But David you'll still get live one-of-ones. It's alive. Nathan with two, five, Jackson with six, Jason with four, Jackson with three, eight, nine and seven. Let's sort this by column B by number numerically. And coming up in the next video will be the break itself. JaspysCaseRace.com. Bye bye.


Welcome everyone. This is the 1st of June 2023. It's Jenkins documentation office hours topics for today. 2.401.1 has released the internationalization pull request has merged and end of life notifications and then main newsletter. Any other topics Bruno that you want to include on the list. No, thank you, Mark. I don't have any. Okay, so delighted that 2.401.1 has released. And looking positive let's take a quick look at the ratings on the page just to see. So if we look at the download page and see what the current ratings are. We've got 3030 positives and no negatives and I've been using it happily so I'll increment by one. Good. Right. So it looks it looks promising. That's that's good. Now we're only one day into it. Yeah, but that's a good, good sign. The internationalization pull request from Jay Chen has been merged. He approved he or she, the person approved the changes I had proposed and has submitted a new pull request. So the new request free. All right, Jeffrey, so probably mail. Right. Yes. So here's the new pull request. I won't get to this one for a while. I suspect it requires the same kinds of changes structural and organizational adjustments as the earlier one did. There are things that were in the old wiki that have a place in the new in the new site in the current site, but not exactly a direct translation. Right. There's there are better ways to approach it. So. So I've done the first review but just on the syntax. It won't help that much. But yes, now. Oh, it's work for the grown ups. Well, thank you for doing that. That's great.  Okay. Yeah. Thank you for the reminder for them. We we it. It's not a terrible inconvenience, but it just complicates my life as a reviewer when someone uses the master branch instead of on their own copy instead of using using a feature branch or a separately named branch. But to be totally honest, it's not that clear in the documentation I linked in my comment. Oh, good. Okay, so we should make it more clear. Yes, it's written something like to a branch but not to a new branch that is not made no master. So I should do that. Great. Very good. All right, thank you. Anything else on the internationalization pull requests. No, thank you. Okay, next topic was end of life notifications in Jenkins core and here we've gone one step further now. We have a blog post. It announces it. And one of the one of the mistakes I've made that needs to be corrected is that the redirect from the page inside Jenkins needs to go to the blog post. So today, inside Jenkins there's a hyperlink refer to this documentation for details. When the person clicks on that hyperlink, it will take them to the Jenkins Linux requirements page, which is not bad, but I think it would be clearer for them if it took them to the blog post. Yes, indeed. So this is not a bad pay or no wrong one that it takes into the Linux support policy. This is not a bad page. The blog post at least for the next several weeks or a month is probably a more accurate expression of exactly what's happening and why it's happening. Got it. So that's that's a to do item for somebody. Do you have you ever created a redirect brutal. No. I was just wondering, of course, you have some old system running that will display that information. I don't run any old OS, so I won't see that. Correct. So what you'd have to do is, you're correct. The only users who will see this are users who are running an operating system that will either has already reached end of life, or will reach end of life within the next six months. Or in the case of Red Hat Enterprise Linux and its derivatives. We show that to them if you're using Red Hat Enterprise Linux seven immediately, even though the operating system provider end of life is June 30. We're going to end life for it in the Jenkins project November 16. Yeah, so now. I was just, I was going to see, hey, Bruno, do you want to try to update the existing redirect. Yeah, but they're willing to do it. Try to update the redirect to point to the blog post. Oh, it's in Jenkins core code. No, no, this is actually not a change in Jenkins core at all. That's the nice thing about this redirect. We direct redirect. So if we were to look inside the poll request, we can find the URL. Okay. So let's go looking there. And we'll find it. So core. We look at poll requests, and we say warn. Come on. And look at closed. And here it is. Okay, so here. Now inside the source code of this poll request and the files changed, refined a reference to www.jankins.io. This reference right here. That is the, that is the redirect. And so. Oh, so it's directly in Jenkins.io repo and not in Jenkins core. Okay. Right. And, and what you'll do is you'll find that on the Jenkins.io source code. If you do a search for it. Oh, no, I searched badly. If we do a search for this. I think it will find it for us. Yeah, there it is. And so this is the file that needs to be changed. Okay. Oh, okay. So it's not a guidance into a complete tutorial. Thanks a lot for writing. Well, and my apologies, it's just, I want to be sure you have a chance of success. So yeah, that's kind of that. That file needs to change. And what it needs to change to is point to the blog post, instead of the Linux requirements page. Okay, thanks a lot Mark. This is a recipe for success. Right. Okay, great. Then then the next topic we had was the main newsletter and their Marko submissions. I'll hopefully get to those late today. Because now that we're past the end of the month, I can say you with confidence which things happen at which to go. Yeah. All right. Any other topics Bruno. No, thank you, Mark. Okay, let's call an end for today and see everybody in 20 minutes at the live stream on what's new in Jenkins 2.401.1.


Good morning my beautiful friends. I wanted to talk today about a subject that I think probably a lot of people have wondered about and have had questions about and that's how to talk to amputees. Now a answer that won't get me much view time because I'm just gonna come right out and say it is you talk to them like they're people like you know because I'm a person you talk to them like they're anyone else. However since I have spent the first 27 years of my life not as an amputee I do understand the discomfort. I understand the urge to ask questions but to not know if it's okay to ask those questions. So I get that there are things you may want to ask that you don't know if they're okay to ask. I also get that there are things that people ask that are totally not okay that they just come right out and say and you know it'd be best if they didn't. So I was up in Boulder this past weekend with my husband and he was super sweet to wheel me around Boulder and Pearl Street Mall if you've ever been there and we stopped for lunch and I like I said was in a wheelchair because I don't have my prosthetic leg and it was too far to go in crutches.  Side note would not recommend doing that it's super dangerous but you know what things had to happen and as I was coming out of that bathroom a girl about my age was waiting to go in and she looked down at my leg and looked back up at me and she was just like oh I'm sorry you know I just kind of like blurted out as like a I'm sorry for your life kind of thing and I just kind of laughed it off I was like hey no worries I'm making it work you know and that's all I said and then I we parted ways. It made me very aware of the instant discomfort that my presence brings to some people and that people who look different can bring to some situations because people don't know how to communicate they haven't gained those skills so I wanted to talk about a few things that can be really helpful and let me start by saying this is just my opinion everyone is going to be a different point in their journey everyone's amputation story is different some people were born without limbs some people lost them in horrific and traumatic ways some people had to make the choice everyone's story is different and what people are comfortable with is going to vary which is why my first recommendation is if you have a question ask if it's okay to ask I had someone ask hey um I have some questions are you cool answering them like are do you feel like you're in a space today where you want to answer any questions about like your amputation and what's going on and I was super appreciative appreciative appreciative I think I said that word wrong basically I was just really grateful that they took a moment to make sure that I was in an okay mental space and that I was cool answering questions that day and I was so it's like yeah absolutely ask away but there are other times where I have been answering questions all day or where I'm super emotional and I just really don't want to because I'm going to break down crime or whatever and the answer might be god I really appreciate it but sometimes that story is painful and just blurting out hey what happened is not a great way to start a conversation and put someone in an uncomfortable place depending on who they are so just ask if it's okay to ask it's super affirming it makes someone feel like you actually care about their feelings and chances are the answer is probably going to be yes because you took the time to ask secondly and this is just like a minor pet peeve that I have and again I get it because I was on the other side of this equation for a long time I'll be somewhere and I'll see someone like stare at me and then like say something to their friends and like stare over at me again and then like and then stare again and I know that they want to say something or that they're having a conversation about me and that there's something on their mind or a question they want to ask in my opinion it's better if you just do that rather than making someone feel uncomfortable by repeatedly staring at them because they look different enter into a conversation make a new friend rather than just making someone feel weird by repeatedly glancing over at them because I've let you in on a secret we noticed something that I do think is a really confusing thing for people in society right now is when to know when to help versus when not to help like if I drop something and I'm on crutches and I don't have my prosthetic leg on or if I'm struggling to open a door in the snow in the wind carrying things and I'm obviously having a hard time I feel like I can feel people's discomfort of like I want to help but should I help because there's a message is being promoted which is a really really good message that you shouldn't just jump in and help people who you don't think are or who aren't able bodied because chances are they know how to help themselves and someone going to get offended if you try to help them and so do you just not say anything and you don't help or do you jump in because you see that they're having a hard time and my recommendation on this again would be to ask would be to say hey do you want any help or you got it you know again feel free to disagree on that if you've been in this situation but I prefer that people ask the question rather than not do anything or jump in I don't like it when people just jump in and do things for me that drives me nuts however sometimes I might be legitimately struggling and trying to do more than I'm currently capable of because I have been known to do that way too often and someone asking if I need help is a good opportunity for me to be like yeah actually yes I do but the most part people who aren't able bodied have absolutely adjusted to living life know what they need know what they don't need know what to ask for and don't need you to do it for them so again the message in this video is if you don't know ask or if you have a question ask instead of not if you have a friend who's recently gone through an amputation or some other form of life altering surgery I found that while it is incredibly important to talk about it it's also really important to feel like life is more than that like we have friends that came over brought us dinner still out of it like this was very new and we probably talked about it for like five minutes and then we spent three hours just hanging out with them and like talking about jiu jitsu because that's where we knew them from and like talking about religion and politics and all different kinds of things because my identity is not an amputee my whole life is not amputation though it's a significant part of it right now is adjusting to it so like if you know someone who's going through this not every conversation needs to be about it I think checking in is super super helpful and awesome and I love it when my friends do it like hey how are you doing with everything but not pressing it like not being persistent not needing people to tell you things because it's really important to feel like you are more than this it's really important to feel like people see you as a human being that is more than the identity of being disabled or being different because you are because you're still a human being you just have this other thing going on too so if you're communicating with someone who you know who's going through this I promise you there's more going on in their life and they probably have more on their minds than just this so have a normal conversation those are some really basic guidelines of communication with amputees or people who don't look the same as you if you want to do like a specific do's and don'ts list would be more than happy to do that but I guess the real message of this video and like I said it could really just be summed up as talk to them like they're a normal person and ask questions if you have questions but make sure that you get their permission first instead of bombarding them instead of assuming that you have a right to their story because you don't because it's their story my story is my story and I choose to share it because I want to but that is not the case for everyone it is an intensely personal thing and if you want to know something that's totally fine but ask first thank you for pushing me around bolder uh-huh I'll get used to it he's the sweetest you would never know it and he's cute


Good morning. Welcome to film my run. My name's Steven Cousins. People tell me I am obsessed with strides accuracy and I am or maybe maybe I'm just obsessed with the difference between running on a treadmill and running outdoors. I did this test that I'm going to do today yesterday. I ran five kilometers up the seafront with this measuring wheel and then five kilometers all the way back again. Incredibly, I hit this lamppost here. See this lamppost? This lamppost is where I run from. I arrived back at this lamppost and this measuring wheel said exactly 10,000 meters. Exactly 10,000 meters. Unfortunately, about three kilometers before the end of the run, my camera battery died. So I'm doing it all again today, but at least that means we'll get a double check on the accuracy of the measuring wheel to see if it does do 10,000 meters exactly again. So the idea is we run five kilometers out and five kilometers back. What I'm going to do is I'm going to have two watches on the Phoenix 6s on my right wrist using optical heart rate and the Phoenix 6x Pro on my left wrist using a chest strap for heart rate. Both watches will be using a stride foot pod. The Phoenix 6s on my right hand will be using the old stride foot pod and the Phoenix 6x on my left hand will be using the stride wind, the newer stride foot pod. So two stride foot pods, two Phoenix 6 watches, one measuring wheel. Let's see what we get by the end of the run. Impossible to make a video out of here. Absolutely impossible. Right, both Phoenix 6 watches are using the stride foot pods for distance as well. So distance and pace always from the stride foot pods and they're both at 100% calibration. So essentially zero calibration on both stride foot pods. And one more thing to mention before we start. The distance will be measured by the measuring wheel. So I'm going to run 10 kilometers per hour and I'm going to try to get it to match to the measuring wheel. So when the measuring wheel says 10K, that's when I stop. And hopefully that'll be one hour of running if I can time it correctly. You can see the measuring wheel is set at zero and we're right beside this lamp post here, which is just after the blue bus shelter there. So that's where we're starting from. So when we get back here, I want that to say 10,000 meters exactly. Let's go then. Watch number one. Start watch number one. Start watch number two and away we go running. OK, just past three kilometers and just about 18 minutes, 17 minutes, 56. So I'm not doing too badly, keeping to time with the measuring wheel. So I'm ignoring both watches' distance and time. And I am strictly trying to do six minutes per kilometer according to the measuring wheel. It's more difficult than it looks. So we're on 3,160 meters so far. OK, approaching five kilometers. So we'll see where we turn around. Hopefully I've got this in about half an hour. Six, seven, eight, nine, there's 5,000 meters there. It is about the same as yesterday just before that red bin there, that red refuse bin. So five kilometers back now, we're into the wind a little bit here. Just an update on the stride foot pods. As we found with the track test, the stride wind is measuring long. And the old stride, the non-wind version, is measuring short. It's quite windy coming back, so I think the power number for the stride wind might be quite elevated. And we're about approaching seven and a half kilometers in there. Eight, nine kilometers in 54 minutes, exactly. Six minutes more running to get to 10 kilometers. OK, moment of truth time. We're just coming up to the bus shelter and we want to finish in one hour. 10 kilometers. Here we go, 20 meters. It's going to do it. Oh, there we are, just there. OK, I think so yesterday we got exactly to that lab post. Today we're about, I'd say, five, six meters short. According to my measuring wheel, we've done 10,002 meters in one hour and three seconds. But we haven't come back quite to the place where we started. We're about, well, let's measure it. We are one, two, three, we are four meters short. So we can put that down to a margin of error. According to the stride wind, we have done a lot less distance. We've done 160 meters less distance. My heart rate is actually higher on this run. But I think that's due to the wind pushing into the wind a little bit. Who knows? My heart rate yesterday, average heart rate was 118 beats per minute. I think my average heart rate for this run is going to be at least 122, something like that, maybe even higher, as I was watching it coming down. Anyway, so we'll go back now to the studio and check out some data on the computer. OK, so let's have a little look at some of the data from this morning's run. And we'll have a little comparison with yesterday's run as well. It's quite lucky that my camera died on me yesterday because I've had a chance to measure the course twice with the measuring wheel. So both times with the measuring wheel, the first time I started at the lamppost and I ended at 10 K exactly on the lamppost and you'll have to trust me. I promise that's what happened. This time we started at the lamppost, went 5 K, came back and we measured just a little bit short of the lamppost, about six to eight meters or something short of the lamppost. Now I've had a look at the GPS track of yesterday's run and today's run. So for today's run, I've zoomed in on the satellite map of the GPS track of the course to where I turned around today. And you can see these beachhouses here and then just this gap here in the beachhouses, that's where I've turned around. So there was a red bin around about here. And remember, I said on the video, we've turned around just before the red bin and we've turned around that gap there. Now yesterday's run, I've zoomed in again to exactly the same place. But you can see here, there's the gap and we've turned around, what, three, four meters early. So why that's happened is probably because I have weaved around as I've been coming up the seafront and so the wheel has measured me moving. Obviously, you've got to go in a straight line. If you go in a straight line, you'll get five K in a straight line. If you weave about left, right, one side of the seafront, the other side of the seafront, avoiding people and dogs and traffic, whatever it might be, you're going to add distance. So so obviously that's what's happened here. So that's easily explained. But, you know, we were within six meters of 10 K with the measuring wheel on both days. So so that's that. Now today's run, we have a look at it. This is measured by the stride wind foot pod. And you can see we have a distance measurement of nine point eight four kilometers. Anyway, what we can do is we can use the stride GPS correction tool. It will look at the GPS track. So that should be pretty much exactly what my measuring wheel measured as well. That exactly where I ran and it will work out what it thinks I ran. So here we are, correct distance. This is exactly what we did when we did the track run video. Go and have a look at that video if you want to see me running around a 400 meter track for 10,000 meters. And here we are. We've got 10 kilometers points, 10.03 kilometers. So 10,030 meters. If we argue that the measuring tool is correct, that we've measured 10,000 meters with the measuring tool. So GPS has measured slightly over. Give or take 25, 30 meters or so it's measured long. But the stride wind has measured 160 meters short. So what we're saying here is that if I had run 10 kilometers on the track and stopped at 10 kilometers where the track marker is, we would have measured about nine point eight four, nine point eight three on the track, as it was, I ran that extra distance to measure 10 kilometers according to the stride wind. But if I've measured it according to the track, then we would have had the same result as we've got here, i.e. the stride wind being short by about 160 meters. What we also did, of course, was we measured the same run today with the old stride foot pod, the non wind version. And if you remember the track run, the old stride was 90 meters short of the 10K line. So it was 90 meters incorrect. If we look at today's run, I'm going to use Garmin Connect website here for this one. I had it on track running mode on the Phoenix 6S, which was on my right wrist, the white watch. And look, we've measured 10,130 meters. So a bit longer, actually, than on the track. The non stride wind or the non wind stride has measured an extra 130 meters, as opposed to the 90 meters that it was long when we did the track run. So that's interesting to note that we've had this kind of similar results. Really, the non wind stride is measuring long, longer than 10,000 meters. And the wind stride is measuring shorter than 10,000 meters. And we have good measurements on the track. We know the track is 25 times round the track that makes 10,000 meters of running. And we've measured a 10,000 meter course on the seat front with a measuring wheel. And we know we've got 10,000 meters. Give or take a few meters here or there within a margin of error. We know we've got a 10,000 meter course along the seafront. So we know that those stride foot pods essentially are measuring incorrectly. Now, not by much. This, I mean, this is less than 2 percent error. And Stride would argue that that's probably within an acceptable margin of error. Less than 2 percent, 10,000 meters. If you run an extra 130 meters, it's not really here and all there, is it? If you saw that again, like I said in the track video, if you saw that on your Strava feed, you'd probably just ignore that 130 meters extra. Or you you probably actually if you ran a 10 K race and you saw that it only measured 9.84, you were 160 meters short, then you might well, you might question that. Actually, you might not be too happy that it didn't measure the full 10 K and you'd be questioning the race organiser and say, why why is this race short when, in fact, it's not short? It's the stride that's measured incorrectly. OK, there we are. We can also look here at some other stats, if you like. Heart rate. I measured heart rate with the optical heart rate sensor on the Phoenix six on my right wrist and with a chest strap for the Phoenix six X on my left wrist. And here you can see pretty much identical or you can notice is that the purple line comes slightly before the blue line and the heart rate strap is slightly quicker at reacting than the wrist based heart rate. And you can see down here at the old stride on the Phoenix six S measuring with optical has measured around about 121 beats per minute and so has the stride wind with the chest strap. You know, give or take 120.63 so rounded up to 121 beats per minute. So it's the same, basically. Cadence is pretty much identical. And here you can notice the speed of the two foot pods. So the old stride average pace of 10.13 kilometres per hour and the stride wind 9.86 kilometres per hour. And you can see that here pretty much the whole way through. The old stride is measuring faster than the stride wind. We move further down, we look at distance. We can see the two runs diverging so that each run finishes the stride wind finishes behind the old stride at the end of the run there. Let's ignore elevation and let's go to developer fields. These are both the power meters. So this is the stride wind power meter and the old stride power meter. What's interesting here is they are very similar here. This is the first half of the run. So this is halfway through the run here. This is the first five K where there was no wind. Now they look almost identical, but if you look closely, you will see that the stride wind is slightly behind the old stride. So the power numbers are slightly greater for the old stride foot pod. So one seven seven to one seven five there. Look, or here we've got one seven six to one seven two or further along. We've got one eight one to one seven six. But then we move to the second half of the run and we notice that suddenly the stride wind picks up. And that's because we're getting a lot of benefit of extra power given to us by the stride winds air power feature. So the stride wind is adding extra power on to make up for the extra effort we're making to get through the headwind that I was running into on the way back. And that's turned into basically an exactly even power match for for both runs. If we just go to this page here, this is basically the same run. All these three Google spreadsheet entries are for the same run. The stride wind, the old stride and a corrected GPS. So we've got the one eight four, the one at ten point one three and the GPS correction at ten point zero three. But look at the power. The power is exactly the same. So this is the power for the stride wind one seventy seven. This is the average power for the old stride. This is normalized power. And this is heart rate one hundred and twenty one beats per minute. So the power for both both stride foot pods has evened itself out over the course of the run. And they've both ended up being the same. So there we are. So that is my analysis of the data for those for that run today. And just go and have a look at the track video as well. There is a track video in which I do pretty much exactly the same thing. Go for a 10,000 meter run on the track, measuring it with the stride wind and the old stride. Results are pretty similar. So that's it from me here at the film my run shed quarters. I hope you've enjoyed it. I hope you found something interesting from it. Take care and we'll see you for another film my run video. I promise I will stop doing stride videos soon. I promise I'm just collecting a lot of stride data at the moment. I apologize if you're getting bored of it. But if you like stride, if you like all this stuff about treadmill running and accuracy and distance measurements and power numbers, then there probably will be one or two more of these stride videos. If you're bored of them, then I apologize. I do have more marathon and ultra running point of view videos coming soon. Hopefully you'll find those of more interest. Take care. We'll see you again for another film my run. Bye bye.


2014 was a big year at the ANU College of Asia in the Pacific. Here are a few of the highlights. January, the Strategic and Defence Study Centre is named best university-based think tank in Australia. February, Dr John Blacksland puts his new Aussie flag design to the test with an online poll. Here in Australia, we need to choose between a new design or being stuck with a faintly embarrassing anachronism. Also in February, staff move into the new Australian centre on China in the world building. We wanted a building that was reflected the requirements of research institution but also a place that was aesthetically significant, that had modern Chinese elements in it, but also reflected the ANU's position in Canberra, the light of Canberra, the beauty of this university campus. March, Robert Krebs' book Wild Man from Borneo is published. The book looks at similarities between people and orangutans. On almost all the tests of humankind, orangutans are there. They're not as clever as humans, but they do a lot of things that humans can do. April, Reese Crawley promotes his new book, Climax at Gallipoli. It focuses on some heavy myths that have evolved over the past hundred years and one of those is that Gallipoli was the main thing happening in 1915. Now that's not the case, it was really a small part of a much broader picture. May, Korean calligraphy master Kim Jong-yong comes to the ANU College of Asia in the Pacific. June, Desbole and Hugh White win their orders of Australia for contribution to the nation in defence and intelligence. July, we host a VIP from Japan. Prime Minister Shinzo Abe has visited the Australian National University as part of his historic visit to Australia. The visit recognises the university's long-standing and growing links with Japan. Also in July, just over 200 students from the ANU College of Asia in the Pacific attend a conferring of awards ceremony. When you've done your bachelor's degree at the best university for Asian studies, you've got to come back for your PhD. August, we speak to hundreds of visitors on campus at ANU Open Day. September, Susan Harris-Rimmer leads gender equality meeting at ANU ahead of the 2014 G20 summit in Brisbane. This is one of the first times ever in the world that we've had this type of discussion about investing in gender equality. Also in September, Joan Beaumont wins the 2014 NSW Premier's Australian History Prize for her study of the First World War. She later went on to also win the Prime Minister's Prize for Australian History. October, David Horner's book The Spy Catches is launched. The first official look at ASIO's secret files. In the same month, Crawford Schools' Peter Drysdale wins the Japan Foundation Award for 2014. And there was the ANU Nessia Festival, a showcase of cultural performances, food and real hospitality from the Pacific Islands. November, Bruce Chapman and Nicole Haley win Vice Chancellor's Staff Excellence Awards for their contribution to public policy. December, students visit Hawaii for ANU Pacific Islands Field School. Now that the holidays are over, we can't wait to get stuck into the 2015 academic year.