Okay, fine, so I'm gonna talk about lattices. Is that okay, the sound? Like this? So by now I'm sure you're all familiar with the fact that lattice problems provide strong foundation for post-quantum cryptography. And I'm gonna talk more specifically about the problem of finding short vectors in lattices. So how hard is it to find short vectors in generic lattices? Well, it depends on how short you want it to be. In polynomial time, you can find an exponential approximation of the shortest vector using the LLL algorithm. And if you want a really good approximation, you can find a polynomial approximation of the shortest vector. When I say polynomial, it's an N, which is the dimension of the lattice. In an exponential time using the PICASE algorithm and PICASE also provides a trade-off between these two points. So the problem of generic lattices is that they are cumbersome. So the typical key size associated to them will be quadratic in N. So what we do is we want to use some lattices with more, to use lattices with more structure to have a faster arithmetic and smaller keys. Do you still hear me? Yeah, good. So we're gonna work with what we call ideal lattices. So typically in a cyclotomic ring, which is the ring of this form, a z-joint omega m, where omega m is a primitive m-throat of unity. So the dimension here will be n equals phi of m, where phi is Eulostation function, which brings the key size down to a bigger of n. So what exactly is an ideal lattice in such a ring? Well, Minkowski's embedding of the cyclotomic field into the nth dimensional real vector space gives to the cyclotomic ring, and the cyclotomic field, the structure of the Hermitian vector space. And lattices in that ring are actually also, sorry, ideals in that ring, also lattices in that vector space, and these are what we call ideal lattices. So ideal lattices are great. They allow faster arithmetic and smaller keys, but they also have more structures, which raises an important question. Can we do better than LLL and BKZ for these lattices? So the answer is yes. At least for principle ideals, it has been highlighted by a lot of people. So first by Campbell and collaborators in 2014, relying on two main ingredients that were later proven rigorously. The first one is that if you have a principle ideal, meaning an ideal that is generated by a single element, you can recover a generator H in quantum polynomial time. And the second ingredient says that once you have a generator H, which is an arbitrary generator, not necessarily short, you can find another generator that is short. And this is solvable in classical polynomial time for these cyclotomic rings, at least when the conductor M is a power of a prime number. And by short, we mean with an approximation factor that is exponential in the square root of N. So it is not a very small approximation factor. This is not polynomial yet, but it is already much smaller than what can be done generically in classical polynomial time or quantum polynomial time. So some obstacles remain before we actually break ideal as VP and Ring LWE. The first one is that what I've just presented is restricted to principle ideals, whereas we would like it to work for arbitrary ideals. The second restriction is of course that the approximation factor we find is a bit too large. We would like to really break the crypto polynomial approximation. And the last limitation is that ideal as VP reduces to Ring LWE, but the converse is not known to be true. So breaking ideal as VP will not be sufficient to really break Ring LWE yet. So here I'm gonna talk about removing the first restriction. So taking what was doable previously in principle ideals and show that we can actually do the same in the same time for arbitrary ideals. And we'll do this by solving the close principle multiple problem. So more precisely, our result is the following. We can solve ideal as VP in quantum polynomial time for these ring of cyclotomic integers where M is the power of a prime number for an approximation factor exponential in the square root of N. So this highlights the hardness gap between the generic version of as VP and ideal as VP. So in this graphic, in the generic case, the BKZ line would continue as a straight line to the bottom and we break this line in the middle. We say in quantum polynomial time, we can do much better than generically. So our approach is the following. We are given an ideal A and we want to find a short vector in A. So first, we find another ideal B, which is of small norm. So here small norm means exponential in a bigger of N to the three halves, such that the product AB is a principal ideal. This part is what we call the close principle multiple. AB is close to A because B is small and the product is principal. Once we have done that, the second step consists in solving the principal ideal as VP problem for the product AB and output the generator, which will be of length and Nth root of the norm of AB times a factor, an approximation factor, which is exponential in the square root of N. Why does this work? Because the generator G that we find in the second step is in the product AB and as long as B is an integral ideal, the product AB is a sub lattice of A. So the element G that we find is actually in A. Now, is it good enough? Well, the approximation factor is given by the length of G divided by the Nth root of the norm of A, which is exponential in the square root of N, which is what we want. So the second step is already solvable by all these people that worked on the principal ideal version of the problem. And the first step is the focus of this talk. So let's fix the notations. I let K be the cyclotomic field of conductor M and I take O, it's ring of integers. We are given an ideal A in this ring of integers and we are looking for an ideal B that is of small norms such that the product AB is principal. So how hard can this be? The difficulty will be related to the size of the class group. So the class group is the group of fractional ideals. So if you have two ideals, you can multiply them to obtain another ideal. It's not a group quite yet because you don't have inverses. So we cheat a little bit and we consider fractional ideals. This forms a group. A subgroup of that is generated by principal ideals which we denote P of O and the quotient is the class group. It's a finite a billion group. Now, if you suppose that the class group is small, say of size polynomial in N, then the problem is pretty simple. You pick a random ideal B of small norm and you just pray that the product AB will be principal. And if the class group is small, then this will happen with good enough probability and you're done. The problem is that the class group is not that small. It is of size exponential in N log M. So we need a better solution. The first ingredient of a better solution is that we are able to solve in quantum polynomial time the discrete logarithm problem in class groups thanks to a paper by Bias and Song. So if we fix a basis B of factors that consists, it's just a set of small ideals that generate the class group. And if we are given an ideal A, we can find in polynomial time a decomposition of A as a product of elements in this basis of factors. So A is a product of, well, the class of A in the class group is a product of the classes of the elements in the factor base to the power some integers. So we could just say, okay, let's solve this problem and write B as the product of this element in the factor basis with exponents minus the integers we find by solving the discrete logarithm. And then the product A, B is principle. It's easy arithmetic in the class group. It's easy to verify. The problem is that the norm of B will be huge. B is a product of small ideals but it's a product that contains a lot of factors and actually the norm of B will be exponential in the L1 norm of our vector of exponents. And we want this L1 norm to be a big O of n to the power three halfs to reach our target. Another problem is that B might not be integral. You might have a negative exponents and if B is not integral then the factor of the product A, B will not be a subset of A so you will not find a short generator that is also in the lattice A. So to solve these issues, we look at the structure we have in our cyclotomic field. So we let G be the multiplicative group of integers modulo M which is isomorphic to the Galois group of our cyclotomic field. Now assume that we have a factor, a basis of factors that is of the form a Galois orbit of one ideal. So you have an ideal P. If you take an element of the Galois group it sends this ideal somewhere else. So we consider that the orbit of this action is generating the class group. Now we are going to look at formal sums of the form, a sum of some elements in the Galois group times an integer. It's by formal sum I mean just an element in the three a billion group generated by the elements in the Galois group. And this formal sum form a ring which we call the group ring and which we denote Z a joint G. So now we can solve the discrete logarithm problem for a from the previous slide with respect to the factor of basis b. And with this notion of formal sums we can actually write a as the ideal P to the power and element in the formal sum. So here it's just a formal game of pushing the product into the exponent and you obtain an exponent r that is an element in the group ring. So this group ring what's interesting is that it's isomorphic to Z to the n so its elements can be seen as vectors and it comes with L1 norms, L2 norms, et cetera which we will exploit. Our second ingredient will be the following. So we suppose we have written a as a power of p where the exponent is in the group ring. Now suppose you have a lattice lambda in the group ring such that for any element in lambda the power p to the s is principal. So just imagine you have a lattice like that. Now if an element s in lambda is close to r r being the exponent that appears in the decomposition of a then s minus r is small and the ideal p to the power s minus r will be also small, it will have small norm. So if we can do that we can just choose b to be p to the power s minus r and the product AB is principal and the b is small. So we have rephrased the close principal multiple problem as a close vector problem in the lattice lambda. So given any r in the group ring can we find a close lattice point s in lambda? So the question now is can we find such a lattice lambda with that property? And most importantly can we solve the closest vector problem in that lattice lambda? Well this is where Stickelberger comes in. The Stickelberger ideal is defined like this. So you define the Stickelberger element like this by this formula and then the Stickelberger ideal is the intersection of the group ring and theta times the group ring. So two observations, the Stickelberger ideal is an ideal in the group ring. It's also a sub lattice of the group ring because the group ring is isomorphic to ZTDN. So now we have Stickelberger's theorem which will give us exactly the property that we need. For any element in the Stickelberger ideal and any ideal h in our ring of integers the power h to the s is principal. So the Stickelberger ideal annihilates the class group. So again assume that we have a factor basis of this form. Now we have these two things. The Stickelberger ideal is a lattice in the group ring and for any element in the Stickelberger ideal p to the s is principal. These are exactly the properties that we wanted for our lattice lambda. So we can just say let's choose lambda equals s. And we have reduced the close principal multiple problem into a closest vector problem for the Stickelberger ideal. So here's a summary of the algorithm. First you find a basis of the correct form, the Galois orbit of one ideal p. Then you solve the discrete logarithm problem for the class of a with respect to the factor basis b. So you express a as a power of p with an exponent in the group ring. And then you solve the closest vector problem, meaning you find a vector s in the Stickelberger ideal that is close to r.  So now can we solve the closest vector problem for the Stickelberger ideal? The answer is yes. We actually know an explicit computable and short basis for the Stickelberger ideal. I don't have time to give a description of that basis but it's pretty explicit. But a few technicalities remain. The first of which is that the Stickelberger ideal is not full rank in the group ring. So you cannot really take any element in the group ring and directly find the closest vector in the Stickelberger ideal. You first need to expand your ideal. You form a large lattice of relations that annihilate the class group. The second technicality, I already mentioned it, is that negative exponents might appear and they will give fractional ideals which you don't want. So I'm not explaining in details how we solve these technicalities but they are resolved by working with the relative class groups, cl minus of k, instead of the class group. Assuming these technicalities are resolved by working the relative class group, the short basis for the Stickelberger ideal allows to solve the close principle multiple problem with an approximation factor exponential in n to the power of three halves which is exactly what we needed to reach our target. So we have removed the first restriction. So now the best attack, the best algorithm we knew for principle ideals also works for arbitrary ideals but there is still more work to really break ring LWE or ideal SVP. Thank you. So we have time for questions. I might have missed it. The fact, you need this assumption that there's one ideal which generates under the Galois group, the whole class group, what's the conditions on that being true? So I have a slide about that. So we assume that one elements, that's your question. We did this assumption and actually it's pretty unlikely that one element is sufficient but we can take a few and the algorithm generalizes and it works as well as long as the number of ideals we need is a polylogarithmic in n and there is strong experimental evidence that it's true. It's very difficult to prove anything with that respect. The structure of the class group is a kind of a mystery when it comes to exact statements but experimentally it works. Another question. There is one there. Did you investigate the connection between the creation of short relations in the class group to the evaluation of isogenes, higher genus? Okay, so you would require a billion varieties whose endomorphism ring lives in a cyclotomic field. So that's pretty specific and now I didn't look at it. So that's because the Stickelberger technique is restricted to the cyclotomic field. So you have a notion that extends to a near billion extensions. I think the relations you get are not that good but there might be worth it if you're maybe close enough to something cyclotomic. Okay, another question. Maybe I have one, well it's more a philosophical question but if one day you had an algorithm that had a polynomial approximation factor would it directly break some of the crypto systems? Well anyway not directly because we would also need the computer that goes with it. Yeah, of course. With a quantum computer of course. Well to break which problem exactly, ideal SVP? Well it doesn't break carrying LWE but are there other crypto systems that would be attacked directly by it? I don't know. As far as I know the approximation factor we get does not allow us to find anything. If it was polynomial probably. I don't have anything more precise in that.


A lot can happen in a wiki minute, like the 60 seconds of everything that happens on wiki-media projects. Or even the time it takes to answer, does the content on Wikipedia reflect the world's diversity? Wikipedia is the free encyclopedia everyone can edit, and nearly 300,000 volunteers do that every month. But because Wikipedia is powered by humans, it can become vulnerable to historical biases. And it's also a product of who participates. That is one of the reasons why we're missing out on knowledge that represents a lot of our world's population. For instance, by 2022, less than 20% of all biographies on English Wikipedia were about women. And the numbers were even smaller when it comes to LGBTQ rights as communities, people with disabilities, and those in the global majority. But that's changing. Wiki-medians all over the world are working on initiatives to achieve knowledge equity, a commitment to focus on knowledge and communities that have been left out by structures of power and privilege. Together, we can close these gaps and set knowledge free. And that's why content on Wikipedia doesn't reflect the whole world's diversity in one minute.


It is my great pleasure to introduce our keynote for today. Ping Chong is an internationally acclaimed theater director, playwright, video installation artist and pioneer in the use of media in the theater. In his 39 year career, he has been a restless explorer of new possibilities and new directions, pushing at the boundaries of what theater is and can be. Ping Chong's work has been presented at major museums, festivals and theaters around the world. In 1992, Ping Chong created the first work in the undesirable elements series of oral history projects, exploring issues of culture and identity in different communities. Since then, there have been more than 40 productions around the world. Awards have included a Guggenheim Fellowship, a USA Artist Fellowship, two Bessie Awards and two Ogie Awards, including one for sustained achievement in 2000. His revival of the Angels of Sweden Award opened La Mama's 50th anniversary season in October 2011. Cry for Peace, Voices from the Congo will premiere at Syracuse Stage in September 2012 and tour thereafter. Ping Chong was an artist who toured early on the NPN, and I'm really thrilled to welcome here today in Tampa. Ping Chong. My glasses off, I can't see. I'm asked to do a lot of lecturing and keynotes lately. This fall alone, I've done four, and it's making me wonder, have I finally become imminent? Or is it that people are just trying to give me a hint that I'm on my way? Something of a dubious distinction when you've spent your life and career as an outsider critiquing the majority culture, only to end up in demand on the lecture circuit.  But I'm not over the hill, just yet. There are still things I want to say and do. So let me speak to you about where I come from and the place I stand today. The place my water stands in. Just in front of the camera, sir. The camera. Okay. It is truly a great honor to be asked to speak here at the 25th anniversary of the National Performance Network, an organization that has led the field in fostering diversity, artistic experimentation, creating opportunities for artists and partners across the nation and around the world. So congratulations to MK, wherever she is, to the staff, the funders, and all of you on NPN's Silver Anniversary. The field is better off today because of all your efforts. It was way back in 1985 that David White, then Executive Director of Dance Theatre Workshop, remember the old Dance Theatre Workshop? Looked at the performing arts field and saw big problems. David, who was in my second show, I flew to Fiji U.N. South in 1973, wasn't destined for a career as a performer. He was a visionary and knew that systematic problems demanded systematic solutions. And he recognized that the only way things could get better was through collective action by artists, presenters, and funders working together to overcome imbalances in our field. So he called together a group of forward-looking presenters to discuss problems in the field. Things were bad. Artists were isolated from one another. Touring was difficult and poorly paid. There were no centralized sources of funding to support emerging experimental and diverse programming. You know the stuff big theaters didn't want yet. So with the support of the Ford Foundation and the National Endowment of the Arts, they founded the organization that became NPN to address these issues. It soon became apparent that NPN needed to be an independent organization. Over the years under the leadership of San San Wong and the dynamic MK Wegman, NPN has worked tirelessly to support the field and create opportunities for artists and presenters. A lot of progress has been made in the last 25 years, but many of the problems we face today are essentially the same as before and mirror the problems of the nation as a whole. So it seems to me that the 25th anniversary of NPN is an auspicious time to rededicate ourselves, to working together and to make a future in which the arts and artists can thrive. I will come back to this, but please excuse me if I start again at the beginning or at least what was the beginning for me. The Atom Bomb, the Civil Rights Movement, the Vietnam War, JFK, LBJ, Richard Nixon, the fall of colonial rule in Africa, the Black Panthers, the Immigration Act of 1965, which finally gave equality to all immigrants instead of favoring those of European descent. Sex, drugs and rock and roll, Motown, pop art, art, minimal art, conceptual art, happenings. How many people here remember happenings? Charlotte Mormon and the avant-garde parade, Federico Fellini, Igmar Bergman, Ikira Kurosawa, Jean-Luc Godard, St. Yajit Ray and the great international cinema, the young type 50s giving way to the freedom and indulgences of the 60s, the founding of the National Endowment of the Arts in 1965 when fellowships were granted to individuals and funding was available for touring performances. The beginnings of all the identity movements, the women's movement, the Native American movement, the gay rights movement, the disability rights movement, the Latino movement, the Asian American movement, the excitement of change was in the air. The optimism and naivete of youth was in the air. Anything was possible. It was a time of cross-fertilization, the breaking down of traditional boundaries in the arts, the birth of interdisciplinary arts, which was called multimedia back then. Cafe Chino, La Mama Experimental Theater Club, Judson Church were all at the forefront of change. The assassination of John F. Kennedy, the assassination of Robert F. Kennedy, the assassination of Martin Luther King, the assassination of Malcolm X. It is against this backdrop that my life as an artist began in New York City, in the place which is my home, which has always been my home. Recently I was talking to Crystal Banzon, a young artist who has been working in my office while she pursues her own directing career. She expressed a simple wish that she would be paid decently for her work as an artist. She didn't understand why artists should be forced into a poverty mentality. Why shouldn't artists get a full, fair wage for doing their work, just like any other profession? She's right, of course. Sadly, that's just not the way things are now. Artists just aren't truly valued in the United States. We never have been. Our nation is more like the Romans than the Greeks, better at building empire than civilization. Sometimes I think our society, which is so focused on getting ahead at all costs and the live-to-work mentality unconsciously, punishes artists because we have the good fortune of doing what we love. In my youth, in the 60s and 70s, it was cheaper to live in New York City. As an artist, you could afford to do your work even if you were poor, and I was definitely that. But I did get by with a little help from my family, friends, and colleagues. I took jobs, house painting, moving furniture. I worked as a census taker, bartender, not a very good one. Film projectionists on Wall Street showing movies at lunchtime for the workers there. I had a part-time job selling admission tickets and books at the Guggenheim Museum. In this way, I managed to cobble a meager subsistence living, and in 1972, I began creating my own work and formed my own company. It took me 12 years of maintenance jobs. Playmaking, touring, and fundraising before my company was in a place to pay me a modest salary for doing what I loved. On the day I left my job at the Guggenheim Museum for good after seven years, I felt a sense of liberation that I had been longing for. It was an exhilarating moment. It was the moment when I would take my chances creating art for a living. It hasn't been easy. And sometimes it still feels like a fragile existence, but I have been employed full-time doing what I love for the last 25 years. And in spite of all the challenges the company has grown, we now have five full-time employees and a group of associated artists who worked with us on a regular basis. We offer health and pension benefits and pay everyone who works with us. And we get to do what we want to make the art the way we want, at least most of the time. Today, there is relatively little funding across the nation for the arts, modest touring support, and a whole lot more competition. Without question, private and governmental funders and national presenters need to do more to support young artists. The system, as it stands now, favors artists who institutionalized in the last century, while neglecting the emerging and independent artists on which the future of our field depends. I have been lucky to have a staff and management team that understands that the organizational structure should exist to support the art, not the art to support the structure. It is a small but hugely important point. We, both artists and administrators, must work together as a community to make creativity central to our institutions and structures. During my early years in New York City, I lived in a dark, dank basement, the gloom of which was alleviated by the warmth of a working fireplace. The basement was in a creaky old house built before the Civil War on Bleaker Street. It had pressed-in ceilings, which I could touch just by lifting my arm over my head. I paid $50 a month rent for it, which was unheard of even then. You made me lose my place. I didn't have to pay for gas or electricity because it was illegally sourced. In the winter, the wind would whistle through my dungeon of a home because it was full of drafts. The basement opened out to a backyard that was shared in the spring and summer months with other artists living in the adjoining basements next door. All this, thanks to my landlady, an eccentric artist named Lee Nagre, who helped many a young artist, including Basil Twist. It was a gregarious little community, including a tap dancer who lived above me and held tap classes once or twice a week over my head. I was really grateful that it was only once or twice a week over my head. Philip Glass lived catty corner from me in a squat loft building, and I would hear his hypnotic music wafting down Bleaker Street. The photographer Robert Frank, the Andy Walho film star Taylor Bede, and Abby Huffman's Yippies were all on the same street. A beatnik friend of my sister, who looked a lot like Morticia Adams, lived in a loft with her young sailing father and a pet skunk around the corner. Anyone remember what a beatnik is? I lived for 10 years in my basement home without seeing sunlight. When I finally moved to a new apartment above ground and blocked away, I didn't know if I could afford to pay the new exorbitant rent of $225. But I was happy to finally be basking in the sunlight. New York City was decrepit then. It was a sullen place with its shoulders hunched mumbling to itself. The rich in New York City, on the other hand, will always be untouched by what cozy and warm in their elegant digs. But there was plenty of the 99% even then, though the wealth was more evenly distributed. After all, the middle class wasn't dead yet then. It's true that it was a dangerous city, but it was also a city with more character and more complexity than it is now. There was no such thing as a metrosexual, or designer pieces, or wallmarks. Instead, there was Woolworths everywhere then. Anyone here remember what we did? It was possible to have Ma and Pa stores then. In fact, the city was filled with them. It was affordable to have a modest business of your dreams. My parents ran a Ma and Pa store and raised six children. Doing, trying to try doing that today in New York City. The city was once and all a real place then. As I said before, I was shaped by my city as an artist. I was lucky enough to work, to begin my work at a time of incredible sociable and cultural change. In a time when traditional values were being challenged, when the discrete boundaries of the various art forms were being challenged. For example, the visual arts no longer meant only paintings on a wall or sculpture on a pedestal. Dance and theater could occur in alternative spaces like roofs, gardens, parking lots, museums, galleries, instead of theaters. A time art event could be in multiple parks on multiple days in multiple spaces at different locations in the city. Dance, theater, or performance could be integrated in new and different ways. All this may seem obvious now, but it was hot off the griddle then. Experimentation was the norm and the visual arts led the way with the incorporation of media and new technology, inspiring dance, performance, and finally theater for a new adventure and new forms of expression. Projection and sound design weren't always an accepted norm in the time arts, but as we all know, things have to begin sometime, somewhere. My very first work, Lazarus, made in 1972, incorporated slide projection, recorded sound, film projection, puppets, and live actor. It was performed in a loft without spoken text. Soon after, I would incorporate dance, not surprising since I started my life in the performing arts as a dancer with Meredith Monk. The melding of these elements represented the vocabulary of a new kind of time art that was born in the 60s and 70s. 1972 was also the year that I first joined Meredith Monk's Dance Theater Company, the house, and a work entitled Neal Brain Lloyd and the Systems Kid. It was presented on the grounds of Connecticut College for the Connecticut College Dance Festival. The production had a cast of 80 people and included a jeep ejecting dancers before an audience performing small events. White, while horses and riders galloped in the background, including motorcyclists in whiteface, a centipede-like monster, four people painted red from head to toe doing a lumbering dance, Victorian figures playing croquet on a lawn, and most of it accompanied by Meredith's primal, sometimes hair-raising, wordless song. The performance took place in multiple outdoor locations, including a lake, the surrounding grounds of an arboretum, the stately, great lawn of the college, and in the windows of an ivy-covered building besides a sprawling, ancient oak tree. Meredith wanted fireworks for the finale, and since I was Chinese, she asked me. But the budget didn't allow it, so there was a sea of flares instead, accompanying the performers dancing by its light. Needlebrain Lloyd and the Systems Kid was a surrealistic, mid-summer night's dream never to be repeated again. The performance was three hours long with a dinner break in between. I had the good fortune of learning my craft directly in the field. Working with Meredith Monk was an eye-opening and liberating experience because I realized that a performance could be anything you wanted it to be as long as the audience was engaged. Time passes. I made my first work Lazarus when I was 26 years old, and now I am 65 years old. That was 39 years ago. This coming October, I will be celebrating my 40th anniversary in the performing arts. As I said earlier, one does not realize one's dreams without the support of those around them, and I have been fortunate in both my professional and my personal life in this regard. I did not do it alone. I doubt if anyone really does anything in any profession alone. It is therefore always important to be grateful to those who have helped you, to never forget where you came from, and to help those who are coming up behind you. Unlike visual artists, we in our field can't have a retrospective on the wall of a museum and see the through line, the ups and downs of an artistic life in an hour or two. But I like seeing artists through retrospectives because it comforts me to see the early steps and struggles, the doubts, the confusion, the tentativeness, the failures, and triumphs over a long career because it reminds me that we are not alone in our artistic joys and struggles. Looking back on my own work, I see that the themes and motifs have been remarkably consistent. My earliest work dealt with issues arising from the fact that I am an immigrant. It reflects the sense of alienation I felt toward the dominant culture, and at the same time, the estrangement I felt from my own culture as I acculturated. What it is to be other, to be the perceived outsider, has been my dominant theme. It is no surprise that my first work was about Lazarus, a man whose experience of returning from the dead would forever separate him from the living. But the theme of otherness, which began as a personal expression of anguish and alienation, that sense of belonging and not belonging, limited in its scope and reach, over time expanded into something bigger and more universal. Because if we were to elaborate on this theme, we would come to realize that we are talking about something that has plagued mankind down the centuries, which is exclusion versus inclusion, empowerment versus disempowerment, justice versus injustice, equality versus inequality. The macrocosm became the microcosm in my work. I am grateful for this elaboration because it connected me to the world when I was disconnected and took me out of myself and into the world. It made me realize I had a duty and a responsibility toward others in the world. It made me hate, include exclusion. It made me an empathetic human being. I have been other in different ways all my life as an artist in American society, as a person of color, as an artist of color, as an immigrant in all kinds of ways. It's the position that fate has allotted me, the fate of the outsider, but it's a valuable position to be in because I think every society should have a mirror held to it by the artist's outsider. And curiously, being other has brought me closer to my humanity. From 1979 to this day, my artistic home has been La Mama Experimental Theater Club in New York City. It was the late Ellen Stewart while Mama, as we called her, an African-American woman who gave me a place to grow as an artist in New York City. She generously opened her theater to difference to the other artists of color, gay artists and renegades of all colors and strengths. She invited theater artists from all over the world because she passionately believed that we must all connect with each other. Ellen did this before any other theater did. Her inclusiveness was instinctual, part of her vision of the way the world should be and not a funding ploy, as it is in so many theaters these days. Mama was authentically inclusive. She was ahead of her time in every way. As a young woman, she came to New York City Penalists, eventually working her way up at Saks Fifth Avenue until she was designing evening gowns. Her work was so impressive that she was given her own shop space at Saks Fifth Avenue. However, the white seamstresses refused to work for her for a black woman. In the end, it was Jewish refugees escaping from the most horrendous exclusion in Europe who didn't have a problem working for a black woman. It was these women, these haunted women who first called Ellen Stewart Mama. I tell this story because it explains Mama's empathetic and inclusive spirit. She knew what it meant to be excluded and in the New York City of the 50s and 60s, there was plenty of exclusion. That story has yet to be told. Mama was famous for introducing a show in one of her three theaters with the ringing of a little bell. This year, eight months after Mama's passed away, East Fourth Street was officially renamed Ellen Stewart Way. A street fair was organized to celebrate the event on a beautiful fall day. In the evening, as the street sign was finally unveiled, throngs of people on East Fourth Street rang little bells in Mama's honor, accompanied by friends ringing bells from all over the world projected on a large screen. In the summer of 1992, I found myself teaching an intensive 10 day theater class in Amsterdam, the Netherlands, with an international group of students. We would dine together, drink together, and create together. And it's so often the case when people have had enough to drink, they unconsciously revert back to their mother tongues. I found it magical to hear this babble of languages flying across the table over Dutch view. I thought to myself, I wonder if I could create a work using multiple languages about multiple cultures. There we were, people from completely different worlds, together being creative and therefore affirmative, instead of shooting or killing each other. When I returned to New York, I said about looking for people who spoke both English and their mother tongue. The project would be entitled, Undesirable Elements and Ironic Choice of Words. It was created at a time in the United States when anti-immigrant sentiment was on the rise and the AIDS epidemic was in full bloom. It was the beginning of the sorry state of our nation, our nation is in now. I wanted to do something as a reaction and response to the unfriendly climate. As the project evolved, it became an oral history theater work unlike anything I had ever done before. In form, it is a seated opera for the spoken word. The production interweaves the stories of five to eight people from different cultures based on interviews I conducted with each individual. The set consists simply of chairs, microphones, and music stands with scripts that the participants would use to read their personal narratives from. Little did I realize that the simple, modest work of people empowered to tell their stories of otherness, of what is desirable and undesirable in the world they came from, what was desirable and undesirable in the adopted home they found themselves living in would have such power and resonance. Little did I realize I was tapping into the living testimony, the living history of the 20th and 21st century from those who had lived it. With few exceptions, undesirable elements is always community specific and local. I drew off from the people living in a particular community with the help of the local producer. It could be New York City or Tokyo, Charleston or Rotterdam in large or small communities. As often happens, the original catalyst, which was language, became less important than the matter of identity, the collision of cultural difference, where one calls home, where one feels at home, where one is accepted. We ask, what stereotypes do we project on the other? What is it to be other in the United States? Who decides who the other is? How and why? As time went on, the subject matter expanded from its original focus, which was cultural otherness, to other forms of otherness. We have since worked with the disability community, teenagers who have lived through war, Native American nations, the African American community of the Hill District in Pittsburgh, the Congolese refugee community, and currently, perhaps most urgently, survivors of childhood sexual abuse. There has now been 42 undesirable element productions nationally and internationally over 20 years. I have interviewed people from all walks of life, all social classes from everywhere in the world, including Sudan, Ukraine, the Choctaw Nation, Tajikistan, Japan, Tonga, Mexico, Poland, Korea, the Navajo Nation, Burma, Cuba, Turkey, Sierra Leone, Kurdistan, Iran, Chile, Afghanistan, Laos, Suriname, Somalia, India, El Salvador, Vietnam, Sweden, Brazil, the list goes on and on. The object of undesirable elements is to move us beyond our prejudices, our stereotypes, to see the other's humanity as the same as our own. To raise our consciousness of injustice, of exclusion, wherever it may be, and to be aware that the past has a profound impact on the present and the future of the world we live in. All islands connect underwater. All human beings are interconnected. It has been a great privilege to be able to help access the voices of the marginalized, the displaced, the disempowered, and gain their trust. Never did I imagine that in the third decade of my career, something as rich, useful, and fulfilling as undesirable elements would come my way. In the 20 years that I have worked on this series, I am amazed at the healing power and importance of speaking one's truth. In cry for peace, voices from the Congo, the undesirable elements that will premiere at Syracuse Stage next fall, a haunted young Congolese woman shares her painful personal narrative. She experienced horrors in the Congo of which no human being should ever have to live through. But each time she performs the work in progress of cry for peace in Syracuse, in New York City, in Washington, D.C., she grows less fragile and more able to own her tragic story. When I first interviewed her for the production, she was extremely withdrawn. I didn't know if she could make it through the interview, but she clearly needed to speak her truth.  She said, I would say, you did terrible things to me. You did me great harm, but I forgive you. I forgive you because I am alive and I have hope for my future. Since 1996, over five million people have died in the Democratic Republic of the Congo because of war, disease, and the desire for conflict minerals that are in every one of our computers, smartphones, and other digital devices. Let me repeat, that's five million plus people. It is outrageous that the quote unquote civilized world would have done so little to expose the worst Holocaust of our day. It is outrageous that the civilized world has done nothing to bring justice to the Congolese people. This far away place, which seemingly has nothing to do with us, has everything to do with us. From the history of Western slavery to the blood rubber genocide of the late 19th century, in which millions and millions of people died, followed by colonial rule in which the Congolese lived in segregated poverty in their own homeland, into the assassination of Lumumba by the West and the installation of Ubuntu as president and dictator who destroyed whatever infrastructure existed from the 60 plus years of colonial rule, to the present wars and blood mineral nightmare. The DRC has everything to do with us. This week, the presidential elections were held in the DRC and the outcome is still unclear. But will government there habituated to intense corruption as a way of life change? To date, the DRC, which is the size of Western Europe, has few paved roads. The government does nothing for the people. There is no infrastructure to speak of. For most of the people there, there is no plumbing, no electricity, no hospitals, no schools, in short, no public services. Everyone must fend for themselves to survive. Corruption is endemic. And yet, when I visited Kinshasa, the capital of the DRC this summer, I was overwhelmed by the spirit of the people there. They still have hope for their future. Crime and Peace originated through the desire of the tiny Congolese community in Syracuse to live in peace with one another because tribes were pitted against one another in a multitude of conflicts in the DRC, the origins of which lay unequivocally at the doorstep of the West. These refugees and Syracuse have come from a world no 3D glasses would want to bring into focus. The refugees have come from one of the hottest places in the world to one of the coldest, to an alien culture far removed from their own, but they bravely soldier on to make a new life in a new alien world. Two years ago, Cyprian Mehingo, leader of the Congolese community in Syracuse, approached Syracuse Stage, which approached Syracuse University, and through Syracuse University, approached me to help spread their message of peace and reconciliation among the exiled Congolese in the United States. There is yet a second goal to ask all of you, every human being of conscience, to help the Congolese people realize a democratic republic of the Congo that is free from strife, that actually serves the Congolese people and not the one percent there. Here in the United States, the advocacy organization, Friends of the Congo, is helping generate awareness and activism on behalf of the Congolese people. My lifelong journey negotiating the culture I was born into and the culture I adopted seemed at first a dilemma. I now see it as a gift to me, both as an artist and as a human being. It has taught me the need for connection, respect, justice, empathy. There must be a new paradigm of connectedness, of inclusion, of sharing, of belonging, of respect, of responsibility, of sacredness. Because with every passing day in our brave new world, we are losing more and more of our connection to ourselves, to each other, to the past, to our rich histories and to the earth itself which nurtures us. Because without this sense of connection, there can be no respect for life on this planet. In closing, I would like to read you a letter from a cast member of the all Native American production of undesirable elements commissioned by the University of Kansas in Lawrence, Kansas, to address the tension between the majority white culture in Lawrence and the Native American community of Haskell Indian Nation University, the only multi-tribal North American university in the United States. Dear King, our time is short. Tomorrow you will return to New York, and tonight our last performance will be hectic. But I wanted to take a moment to tell you how deeply appreciative I am to have worked with you and your company. From a project born in suspicion and doubt, we have been able to build something wonderful through trust and understanding. I cannot offer a gift that would demonstrate my gratitude, but as a small token, I will dedicate the song I sing in our production to you tonight. It is the song that is sung when the creator has come to your aid after you have been filled with despair. It is also a song that is sung when you are in despair to remind you that you already have many blessings. It creates a center and a solid place to stand. May you always find a solid place to stand. And to everyone here, I would like to say, be strong, be affirmative, be inclusive, and may you always find a solid place to stand. Thank you. If you have any questions, I'm happy to answer them. Otherwise, we cannot go on to our next event. Don't feel you have any pressure at all. Anybody have a question? Going once, going twice. Thank you.


This was a battle in the fourth quarter. What did it take to pull out the win tonight? We say pours. You know, they threw a lot of junk in the game and running and jumping us at half court. Pressuring us, just trying to speed the game. I think we took our time and guys made shots down the stretch, got stops as well. I mean, 34 points tonight. It's your seventh game in a row with 25 plus more points. What is allowing you to be so effective at the rim? I thought I had 36, but I take 34. You had 36, excuse me. Sorry. I think we had space in the floor. All guys are moving and passing the ball and getting the defense off tilt a little bit. And I'm able to drive some and get to the free throw line and set up my mid-range as well. So it was a good all-around win for us. And I got to talk to you about history was made tonight. You surpassed Vince Carter, your 19th in all NBA scoring list. I know that's a guy that you look up to. What does this moment mean for you? Every time I step on a quarter special and I'm just grateful that I get to showcase my skills here on the biggest stage in the NBA. Vince Carter is the first player I watched and idolized as a kid. So it's pretty cool to pass him up. And I'm glad I'm doing it in international reform. Thanks, Katie. Congratulations.


This is stock number 11097. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used. SUV headquarters. Today we are checking out this super clean 2018 Chevy Tahoe LT with the Z71 package. This vehicle has the 5.3 liter V8 motor. It has been fully safety and inspected by our service shop. It has a fresh oil and filter change. All the fluids have been checked and topped off. And this Tahoe is 100% ready to go. Tungsten metallic is the color. We shoot all of our videos in 1080p 60 frames per second. So if you have HD capabilities on your computer tablet or smartphone device, turn them on right now because it's definitely your best way to check out the quality and condition of the vehicle before seeing it in person. If you want to check out all the photos on this Tahoe in the upper right-hand part of your screen is a link right to our website. Click that and check us out there. It comes with Goodyear Wrangler 265-65R18 tires and it has some nice granite painted alloy rims. These tires look like they have right around 50 to 60% of the tread left on them. Front fender is in excellent shape. I didn't see any dents or dings on that. Headlight lenses are nice and clear. You do get the projector lamp headlamps, the LED running lights, and the factory fog lamps. Front bumper is in excellent condition. You'll notice it does have the front bumper parking sensors. No dense dings or cracks in that front bumper and the grille is in excellent shape as well. Hood is in pretty nice condition too. Passenger side front fender is in really nice shape as well. No dents or dings on that. And the passenger side rim is in excellent condition. No scuffs or scrapes. As you go down this side of the vehicle take note of how clean the body is, how reflective and mirror-like that paint is. We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down but you're still interested in purchasing the vehicle, you can see the vehicle, hear the vehicle, and have confidence in what you're looking at before you even get here. So that when you do get here there's absolutely no surprises. Very clean down this side and that's why we offer the Summit Auto Fastpass option in the upper right hand part of your screen. A link right to our website where you can apply for financing, get pre-approved, see a payment quote, even appraise the trade all from the comfort of your own home. Back rim is in excellent shape as well. No scuffs or scrapes. Has the nice painted step bars. Those are in great condition and the back tires have just as much tread as the front tires. Coming around to the back of the vehicle rear bumper is in great shape. I didn't see any dense dings or cracks on that. Has the backup parking sensors. The gate is in excellent shape as well. No denser dings on that. It is a power lift gate. You can see that comes up nicely. We do have the cover for that receiver hitch right there and that's in nice condition too. I didn't see any damage on that. Does have the power fold down seats so you just press these two buttons down. Watch how fast these things go down. It's pretty amazing. They come right back up just as fast. Really nice. You do get storage underneath here and to get this rear gate down you press this button right here. There is a flipper glass button right there to get that rear hatch glass open. You can see those shocks are doing a nice job holding that glass up. Can really get a good idea of that metal flake and that tungsten gray metallic. And as you go down this side just as clean as that passenger side. This one does have the capitalist fuel fill as well. Which is a really nice feature. You've never tried that out. Never gonna get gas on your hands again. Has the roof rack rails. And for full disclosure this back rim is in excellent shape as well. No scuffs or scrapes. Down the rest of this side of the vehicle doors look really good. I didn't see any dents or dings on those doors. Very very nice. Does have blind spot monitoring built in directional signals. I believe those mirrors also power fold in. Yes they do. So they go like so. And they're heated.  You can turn those off and on and your stability control. You get a power telescopic and tilt steering wheel. Audio controls on the back of that steering wheel.  Both of these seats are heated. Both of these seats are power. No rips, no tears on those seats. Very very nice. Comes with a set of weather tech. All weather formats throughout the vehicle. And as we hop inside you can see that this one only has nineteen thousand three hundred and fifty five miles. You do get the Z71 off-road instrument cluster. That's in great shape. You get the heated leather wrap steering wheel. No scuffs or scrapes on that. Bluetooth and information center controls on the right. Cruise controls and forward collision warning controls on the left. You do get the, I believe it's the six speed automatic transmission. You got to put it down and low and then tap it up. Yep, this is the six speed. This one has the Chevy my link system. You get AM FM and Sirius XM radio capabilities on this vehicle. This is also where your backup camera shows up. And the cool thing about this radio is that it has projection manager. So if you have Apple CarPlay or Google or Android Auto I should say. You can project your cell phone to the screen. So if you have a navigation system such as Waze or Google Maps on your phone you can project it to the screen. And then it's like you have navigation right on the screen. So this one does not come with nav but you can get nav from your phone to the screen. It's pretty easy to do. And it's a really nice system. And then you can control your phone through the radio as well. There's also a hideaway bin behind there and then there's a USB port in there. CD player, dual climate controls. You get your heated seat buttons right here. You have your keyless entry with remote start and your power gate button. Key fob is a really nice shape. Weather tech format on that side and passenger side seat are in excellent condition as well. No rips or tears on there. This vehicle smells very clean inside. I don't think it's ever been smoked in. The headliner is in great shape. You do get your rear gate controls, home link buttons for your garage door security systems and lighting systems, map lights, then on-star and SOS buttons in that review mirror. We'll take a quick look at the back seats and then we'll check out under the hood. But very nice and clean on the inside. This whole vehicle is in really great shape. Second row quad seating. You do get heated seats back here. You do get the latch child safety system on those seats. Weather tech floor mat throughout back here. That seats in great condition. It does have the captain's chairs with the armrests on them. 110 volt 150 watt plug-in rear air controls and heated seat buttons as well as a 12 volt power point. These seats do fold down like that and up to get to that third row. And then the third row seats are in excellent shape as well. No rips or tears back here. Very, very nice. Side window antenna. That's where your antenna is. It's in that back window. Kind of cool. Doors look really good. And we'll take a quick look under the hood. I would personally like to thank you for checking out the video today and hopefully from this HD video.  Note, under the hood we have the 5.3 liter V8 motor. Engine bay is very clean. Runs very smooth. This Tahoe has been fully safety and inspected by our service shop. Has a fresh oil and filter change. All the fluids have been checked and topped off. And this one is 100%. Ready to go. I would highly recommend it from a quality and condition standpoint. And to see more pictures of this Tahoe or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, three-quarter tons, one tons. You name it. We got it. Go to our website www.summitauto.com. Full pictures and descriptions of every single vehicle from two locations all at Summit Auto.com. And if you'd like to check out more HD videos you can go to youtube.com slash summit auto. Remember to like, subscribe, and share on this video and all the videos that you see there. In fact in a second you will see a link to subscribe to our YouTube channel on your left. A link to more Tahoe videos like this one right if you've not been to our website on the bottom link to this vehicle on our website. Click those check us out and we really look forward to helping with this super clean 2018 Chevy Tahoe LT Z71 in tungsten gray metallic. Thanks again.


What's going on everybody? Welcome back to the Tableau tutorial series. In this video we're going to be going over bins and calculated fields. All right so let's jump right into it. The first thing that we're going to look at are bins and bins are basically just groupings or ranges of numerical values. So we cannot create bins for genre, name, platform or anything like that. We have to do something with this sign right here which means that it is a numeric. So year or all of this sales data or this ranking data and we're going to use what we worked on in our very first tutorial and so what we're going to be using to kind of demonstrate how bins work is this year right down here. So right now we have a range of 1993 all the way up to 2018 and we're going to create some bins to group and create ranges for these years and it's pretty simple. All we're going to do is I'm going to come right over here to year and this little drop down on the side and we're going to go down to create and go down to bins. Now it's going to say the size of bin and it's going to give you a recommendation based off of the information that is already provided the min and the max of the ranges of these values. You know you don't have to do this but usually it does give some good estimation on what you might be considering if you were thinking hey maybe do a bit of like 20 and they're recommending two. Think about why they might be doing that. We're going to change ours to five and you can always change what this field is going to be. I'm just going to give it an old exclamation point just to really spice things up here. So we're going to click okay and as you can see it adds it right up here is no longer it is no longer a numeric now it is a categorical so it now it's this is no longer just one two three four five it's ranges it's groups and we're going to get rid of this year really quick actually let's keep it up there for a second see what happens but we're going to bring this up and we'll get rid of this year and this is what kind of it spits out for us. Now I did look at the data when I was prepping for this there are some nulls in the years and so all we're going to do for this is we're just going to go like this and we're going to exclude the nulls. Probably not something you should be doing if you're doing this for work but this is for demonstration purposes so we can do whatever we want but as you can see we now have these ranges so this range starts at 1990 and it includes 1990 all the way up to 1994 and that's 1995 to 1999 and so just really quickly we can tell that the years 2000 to 2004 huge huge huge season or group of years for game sales so these are the global sales for for these video games and so it is really helpful it's very useful you can do this on a lot of different information we could do this on the sales data you can do this on age you can do it on years like we did and it can be very very useful and so really quickly that is how bins work I would say it's pretty straightforward now this is a perfect time to segue into the next part of the video which is calculated fields right over here on this left hand side we see that the global sales which are in millions goes all the way up to 900 million and created these beautiful bins right down here but let's look at within these from 1999 to 2015 let's see which of these has the highest percentage of course it's going to be this one but we can do something called a quick table calculation we'll create a our own calculation later and I'll show you how to do that but we're going to do a quick table calculation and we're going to do the percent of total and so now we have these bins and instead of just seeing the total amount of sales that they had we see the actual percentages based off these year ranges which is really useful something that you could absolutely put in some real work that you do for a client now really quick just to show you something that you can do if you click control and you drag this over here you can actually save that calculation so we can say percentage of global sales and that actually saves it as you know a measure for us so that was a quick calculation but let's look how to actually create a calculated field so if we do this right here what is going to come up is just the global sales and you can do a lot of what you would basically do in excel multiplication division subtraction a few other things but we're going to keep it super super simple today all i'm going to do is i'm going to take global sales and i'm going to subtract i'm going to do an open bracket and i'm going to say eu sales and it auto completes for me i'm going to click okay and it created calculation two i'm going to come in here and i'm just going to say global sales minus eu sales and let's drag this over these are different once percentage one is in terms of some and so i'm just going to bring this in right here and so now we are comparing against the same thing and if we look at the global sales we have probably right around 950 million ish in this 2000 to 2004 bin and for global sales minus the eu sales we're looking at you know 650 million so there is a noticeable difference and this is just one of the ways that you can use calculated fields to actually just show the difference between two numbers or you can do more advanced calculations depending on the data that you actually have so that's it for this video i hope you learned a little bit more about bins and calculated fields in the next video we're going to be looking at a ton of different visualizations and graphs and charts and just exploring what options are really are out there for visualizing our data thank you guys so much for joining me i really appreciate it if you like this video be sure to like and subscribe below and i will see you in the next video


This research paper examined the security features of popular VoIP applications, including KakaoTalk, Telegram, Facebook Messenger, and WhatsApp. The authors found that none of these applications provided adequate protection against password decryption, eavesdropping, or other malicious activities. Additionally, they discovered that only one application, Facebook Messenger, offered any form of password encryption. This article was authored by Nur Karani Kamaruddin, Nur Syafiq Abizmi, Nurul Hidayah Ahmad Zukri, and others.


When we don't pray, we're pointing our finger in the Holy Spirit's face and saying, I don't need you. Prayer is the activity of dependence upon God. When we go a day without prayer, we're saying to God, I don't need you today. When we go a week without prayer, we're saying to God, I can handle the week without you. When we live our lives without prayer, we're saying to God, I can live within my own strength and power. Proof that you believe in prayer is that you pray. Don't forget to subscribe.


That was nice. That was good. Bruce Lee's one inch punch. It is world famous for his power and speed. So I'm going to show you in this video the secrets that Bruce Lee used to put power into his one inch punch. So stay tuned. And remember if you want to get more lessons like this make sure you subscribe. Hit the notification bell so you get all the latest and coolest lessons from the David Wong channel. So just go do that right now. Like and comment as well. Let me know what else you want to learn, what other videos you want to get on this channel. So let's continue. There's a few ways of doing a one inch punch. The way that you see Bruce Lee do it in the very famous video is doing something that combines many different techniques at the same time. The first one, very obvious, is that you're using a low elbow. So instead of punching like in many martial arts punching with a elbow that flares out to the side, he's punching with a low elbow. The second technique is he's using a snap of the wrist. It's like a twisting snap. Just imagine you're twisting and snapping like this. Right? Twisting and snapping. So he's using that and then making a fist. The third thing is that he is tensing his fist or making a fist with the impact. So he doesn't tense and then punches.  That's how you do it. The fourth thing is that his body is fairly relaxed and his weight is fairly straight up and a little bit forward. The fifth thing is he adds a little bit of hip movement to his punch. Just a little twist of the hip.  So I'm just close.  Use the snap of the wrist. That's how you get the one inch punch. There are a few other ways of doing short inch power. Are you motivated and inspired by Bruce Lee's story and how he was able to actualize his full potential? What did you like to do that in your life? If you do, go ahead and check out my free webinar. It's called Chi Life Mastery. I'm going to show you how you can actualize your full potential using martial arts principles and meditation and using real life lessons that I've used to go from poor to rich and go from sick to healthy. Now go to Chi Life Mastery and check out my free webinar. The first one that Bruce Lee uses is kind of like a sinking power. What I mean by sinking is that he's using gravity to enhance his power. So that looks like this. I start a little bit higher, but still with my knees bent and I end up a little bit lower here while using all these techniques. So I'm going like this. So just imagine a roller coaster. You got it coming down with all that gravity pulling it down and it speeds up and accelerates and at the end, levels out. And then all that gravity momentum is transferred into a forward momentum. That's what you want to do when you do this attack. You have gravity and then it's coming down and then it's going forward. So using that gravity and converting it into forward momentum. So basically I'm starting up. I'm exaggerating and then I end up lower. So I'm starting up and then up lower. I'm making that use of gravity. The second way of doing one inch punch is to use a rising force. So instead of using gravity dropping down, I want to start low and then I want to rise up. But the key to this is that you want to use your spine as a wave to come up. So I'm not just pushing up like doing a deadlift. What I'm doing is I'm making a wave with my body using this force to rise up.  And then as you're rising up, then the punch comes up like this. So if I'm exaggerated, it's going to look like this. It looks really funny. It's like a dance. But if you do it really quickly, it's very imperceivable. So it'll be something like that. The third way of doing a one inch punch, we call it the no inch palm. It's not really a punch. It's a palm. And it's used a lot in the Mac or iron palm techniques. And how this works is I have my hand and my fingers touching. And I'm just using the distance between my palm and the surface for that. It's called a no inch punch or no inch attack because I'm already in contact with him. And it uses the same principles. I'm using that snapping, the twisting snap of the hands to generate or transfer that power. But I keep my body loose. So it'll be like this. So that's the third way. So the fourth way is called a wave punch. And you don't see Bruce Lee using this. But it's also a way to generate power in a very short distance. The unique part of this is that I'm beside him, like perpendicular to him. I'm not in front of him. So when you get yourself in this situation, maybe some clinches, then you can use this technique as a wave to get a nice powerful attack. So it's like this. Like that. And you felt that. So the key is to keep yourself straight and to make a wave with your hand and to keep it loose and then make sure that you're balanced on both legs. And there's no leaning. There's no rotation. I'm just standing straight. And I'm just using the weight of my body and connected with the power of my wave. So you may be saying you can't really use a one inch punch in a real fight. It's because you're this far away. How can you do one inch punch? You're not close to. The point is that if you can generate power in such a short range like this, then all your long range attacks become even more powerful. And also what you learn is you learn how to use different mechanics in your body to generate power because in conventional ways of generating power, you see rotation. You got to rotate your body like hooks, rotation to generate power. Another way is to go back forward and back. I go forward like this to generate power. Using Bruce Lee's one inch punch techniques and body mechanics, you don't use any of that. There's very little rotation except a little bit of snap. And there's no moving back and forth. Most of it is generated by actually moving a little bit backwards like that. And the cool thing about that is that if I'm pushing forward and he just turns his body, I fall straight through. Makes sense? Or if he turns the other way, I fall straight through.  So same idea. If he gets out of the way and I'm putting my full force, then I lose balance and I'm probably get knocked out. So the good thing about being able to generate power using this technique is that even if I miss, I stay and I'm still balanced. Here's a recap of what we showed you in this lesson. How to use the Bruce Lee one inch punch or how to use a no inch attacking short range punching technique. First one is to drop your weight. Second one is to make your weight rise up like a wave. Third one is to just emphasize the snap of your hands like this. And then the fourth one is the wave attack. Like this way. So notice that how thick is this? About three inches. About three inches thick? Yeah. Okay. And could you feel the impact? Oh yeah, definitely. Yeah? Definitely. So even with the padding, he's able to feel the penetrating force of this punch. So this stuff works. You just have to train it. Don't give up. Use the proper technique and you can do it too.


The third document is the actual seating list for the Hall of Fame dinner. It's taking place on July the 20th, 1962, at the Waldorf Astoria Hotel in New York. And so at the head table, you have people like, for instance, Whitney Young, who was a civil rights activist.  You have the heavyweight champion, Floyd Patterson, who's there with family and friends. You have, of course, Duke Ellington, who is, of course, the jazz royalty, I guess, if you will. And then you can go on down the list and find different names that maybe jump out. But I guess what's most important about this is that the range of people who are in attendance, it's not just political. There are people who support the idea of a movement, not just a civil rights movement, but this human rights movement, this idea that here is someone who we've come to honor because of what he's not only been able to achieve as a baseball player, that's only one aspect of his life. But what he has done for American people, for oppressed people, he's demonstrated that one person can make a difference. And so in doing that, they're there to honor him for that. He grew up in a neighborhood that was integrated by his family, but he was still ostracized and tormented because he was black. And he used his athletic ability that he developed as a child to overcome those differences. The fact that he was able to become such a wonderful athlete at UCLA, it's only one thing, but he used that. He channeled his anger and his frustration into baseball, into base hits, into touchdowns, into home runs. So he was able to take something that was a day-to-day kind of experience in racism and being separate from society and use it to his advantage. He refused to participate in the kind of Jim Crow society that the black players in the Negro Leagues were accustomed to. He refused to eat out of the paper bags that were handed to them with sandwiches. He said, if we're going to buy your gas, we're going to be able to use your restaurant, and we want to use your restroom if we need to.