Hello everybody, E here. Welcome back to Top 5 Friday. I know you didn't get one last week. I'm sorry my data cap ran out. I couldn't upload anything. I'm excited for this list just because I don't have to talk about elevation. I don't have to talk about politics. So here we go, jumping right into it. These aren't in any specific order. They are just my favorite Stephen King novellas of all time. Whatever, let's go ahead. First up, we have Big Driver from Full Dark, No Stars. I love this entire collection. I feel it's his best collection since, what is it, different seasons. Definitely an amazing story. I loved how dark and brutal it was. I loved everything about the story. It has one of the most intense scenes that I've read as far as rape is concerned. I don't like reading the story, and I haven't watched the... I know that sounds funny, but it's one of my favorite things, but I don't like reading it. It makes me super uncomfortable. I haven't even watched the Lifetime TNTs. One of those, I can never remember, I think it's Lifetime did a television adaptation of Big Driver, and I don't even want to watch it because I'm so uncomfortable when I read the book. I really don't want to see it. I'm one of those, I'm not a huge fan of rape scenes, period, no matter who's getting raped, be it male, female, or otherwise, children. I don't like reading any of that stuff. But this one was especially disturbing because of the location. It was just everything was so wrong about not only the rape, of course the rape is the big one, but it was the location also in that old rundown was the gas station diner. I can't even remember, but I remember the character saying over and over in their head, I'm being raped, you know, kind of, I can't, and that might not even be in here like that. It might not be in here as much as I remember it, but I just remember the character going through her mind and knowing what was going on and how disturbing that was for me, the reader to read about. All right, next up we have, this is gonna, there's a lot of people going to disagree with me on this one, the Langoliers from four past, yeah four past midnight almost called different seasons. This collection, I love this collection, I probably shouldn't love as much as I do, but I love Langoliers, I love the really crappy movie with Bronson Pinchot. I really liked his portrayal of Tommie, Tommie, whatever his name is. The Langoliers is one of those wild stories that I wish we got more of from Stephen King. It's one of the reasons why I like Joe Hill's early stuff so much, because it's just so freaking out there. It's like a Joe Hill story aloft. It is so out there, so beyond the norm. It's time travel, it's got time travel, it's got these creatures that eat the past, it's amazing. It's an amazing idea and I love everything about it. And yes, like I said, especially the terrible CGI in the television version is amazing. And now we're gonna hang out in different seasons for two books. Of course, The Body, amazing. It doesn't get much better than The Body. I mean it's It, Stephen King's It without the supernatural aspect. You have this group of friends and the best parts of this book, just like with Stephen King's It, the best parts of this book are just the interaction between the kids. It's great. I love the time frame. I love the movie too. Even though a little bit of trivia for you, the movie happens in Castle Rock, Oregon. Yeah, Castle Rock, Oregon. And then of course the book happens in Castle Rock, Maine. But I appreciate everything about it and I also appreciate the ending of The Body. I've always thought it's one of King's best endings for the reality of the situation. I think it's one of the best endings he's ever written. And I would put it in this top five. I think I've done the top five worst Stephen King endings. So if you want to see the best Stephen King endings, let me know down there in the doobly-doo. Next up, we're still here. Next up I'm going with, and this might bring some drama, but The Breathing Method. The Breathing Method is one of my favorite novellas and yes, I like it more than Shawshank Redemption. I like it more than, what's it at, Pupil. I like it more than both of those. I think The Breathing Method is one of those weird oddities. Again, I like the odd stuff. It's one of those odd stories that I had no idea what was coming the first time I read it. And for the first time, I'm stumbling through it. I'm like, this isn't very good. I get to the end and I'm just like, whoa. And the reason why this book is on this list, this novella is on this in my top five is because for all time I have been stuck. Ever since I first read this story and even countless rereads, every time I think of the story, I have a very clear image of the last couple scenes of that novella. And even more so than anything else that I've ever read with Stephen King. In fact, if I did the top five scenes, like as far as scenes that have stuck with me, not just disturbing, just scenes that have stuck with me, visually, that would be very close to the top because every time I think about Stephen King, I think about that. That's one of those scenes that made me even more of a fan, even though I was well into my fandom by the time I had read this story. But there's one of those scenes that really stuck with me. It's very, very visceral. And he describes it so perfectly. It's like in Joe Hill. You probably know what I'm talking about. In Joe Hill's 20th century, no. Joe Hill's heart-shaped box. The hallway scene with the chair. Amazing. It's written so simplistic, so simply, but it's amazing. So last but certainly not least, we are going with, this is a short story collection. Yes, The Mist, which is the opening novella in this short story collection. The Mist is one of my favorites. I couldn't number these. It's so hard to number them because I don't think Stephen King has ever written a bad novella, elevation. I don't think Stephen King has ever written a bad novella. I don't. But he's written some bad short stories. He's written some bad novels. But all of his novellas are usually on point. And we're not going to discuss the one that we've been discussing. I'm trying not to, even with the cough joke. But there's something about when he just focuses on a small section of story. He's perfect. I can't think. If you can think of one novella that you didn't like, that you didn't at least like, that you hated, that you couldn't get through, I would really love to hear from you down there in the comments below. In fact, I want to do a top five worst Stephen King novellas. But I don't know what I would put on that list. So maybe maybe next time I do a fan, a fan version of the show, and a comment, a comment version, comment edition, comment or edition. That's the words I was looking for. A comment or edition of a top five Friday. And I just list the ones that you guys don't like. So please, if you don't like a certain Stephen King novella, leave your comments down there in the doobly-doo. But until next time, I have been E, you have been U. This has been another top five Friday. I'll talk to you guys later. Bye-bye.


Hello, welcome to CTN Member Highlights. I'm Leslie McVane and today we're at the Institute for Contemporary Art at MECA with Aaron Hutton. Hi, Aaron. Hi, how are you Leslie? Aaron, you are the Director of Exhibitions and Special Projects or something like that. Yes, correct. And the Institute for Contemporary Art, the ICA, is doing some amazing things right now. Do you want to talk a little bit about that? Yes, thank you. I'm very proud of the ICA. I've only been in this position here for about 18 months, been with MECA for about 15 years or so. And I'm really proud of the depth and breadth of the exhibitions that we've had in the last few years and also previously with other predecessors. I'm most excited about the collaboration, such as this exhibition that we have here, which is Collective Actions 2. And the reason I'm so excited about this is it's a collaboration with our students, our faculty, our community, and our broader community, including artists from the Brooklyn and Queens area. So it's really exciting. And that's something new, bringing artists from other areas into the ICA, isn't it? So the ICA has always had a long standing history of nationally and internationally acclaimed artists. So we bring artists from all over the world here. And what's unique and special, I think, that the community is responding to is the interaction with the project. So this participatory aspect of some of our exhibitions. This example is very participatory where you can come in, you can make work and engage with the art itself. Future exhibitions may be less participatory, but definitely have a theme or is being seen through a lens that's relevant for the time. Well, certainly this exhibition and the one that's coming up are relevant to what's happening right now. And I think the idea of collaboration, especially in this world right now where people are sort of, you know, on opposite sides and not working together as much as they should, is beautiful to see with the artists. Right. If you may have caught the last exhibition, Anguish, which I think you probably did, it was the timing of that exhibition was pretty perfect. It came out during the time of the transition of the election and transition of president. And I think it was a really important show to talk about loss and grief and anguish. This show is the storytelling where it's telling a story and sharing stories. And I think also people are craving more of that. Well, I'm now with Elizabeth Chabar on the faculty here, a dean at Mecca. Hi, Elizabeth. Hi. Nice to see you. This show is a collaboration between Peregrine Press and ZMAs. Both of those print organizations are friends of the college. ZMAs is located in Florence, Mass. They are national leaders in non-toxic printmaking. So they also play a big role in educating printmakers across the country around contemporary printmaking practice. So we've been fortunate to bring them to the college, even outside of this exhibition, to work with our students. And a lot of the printmakers in Peregrine Press are also friends with ZMAs. So there's been ongoing collaboration with all entities. So when this show was brought to my attention by folks in both presses, I thought it was a great fit for the college and really extended our relationship and our collaborative relationship that we have with those organizations. This exhibit is sort of in three parts. Do you want to talk a little bit about the three parts? And we'll start with this room and what we're seeing here. Sure. So when I was working with Erin on putting all these different pieces together, I wanted a couple of the things that the printmaking program and the public engagement program really highlight is sort of the power of collective action and collaboration. And I think the three different galleries in this show highlight is different ways that contemporary printmakers go about being collaborative. So this exhibition in the back, The Unity of Opposites, is based on a traditional kind of format in the sense that often printmakers from different print shops come up with a thematic idea to generate a portfolio project of work. So this one is based on that really classic children's game called telephone. So there's a call and response, a very playful process at work in this. So these two pieces here were the start of the two images. And you didn't get anything as the artist except for the image that was sent to you. So these two images started it. What would happen is one of these images was sent to another small group of artists. They didn't get any other information except email with a digital scan of the artwork. And you were open to respond to it and then pass along your response to another set of artists and they would then respond. So this exhibition is this amazing culmination of the call and response and play in collaboration of the portfolio. And when you say respond, you mean an artistic response and then that whatever that artist did would take their own and pass it on, not the original. Right, not the original. So the only thing for instance that I saw in this project was the person that, their response in the last round of the game of telephone. So I had no idea, no one really had any idea after these two that these were the two original pieces. And you're right, it was a really open kind of visual response to what you saw in that image and what you wanted to bring out that you noticed in that image or to sort of exaggerate or amplify in that last piece. And then the other rooms, there are two other rooms. And could you tell us the names of the other two extensions? Sure, the front gallery is an installation by Art Collective out of Queens, New York and they're called Mobile Print Power. And they are really a grassroots community organizing entity that uses art to sort of message and amplify and support some work of local nonprofits that work on issues that are specific to Queens. And if you notice in the front, there's all the texts in English and in Spanish. A core part of their artists in that group in the community that they work with are Spanish speakers. And a lot of the issues that they're tackling in that work relate to issues of immigration and undocumented folks in the United States and some of the challenges that they face. So they're artists, they're also local activists and they're community organizers. So they're using their voice as artists in a collective way with their community to help further some of the topics that are important to them. And by doing it through art, it's more approachable. I mean, people are not as turned off maybe by art as they might be by dialogue. So by looking at the art, they will listen. It's true and I also think one thing that they do if you notice in the front gallery there's this cart that looks like an ice cream stand. And it's actually a mobile silkscreen unit. So a big part of what they do is take their work outside and engage people directly, which is very different than in a gallery setting. So being someone that also engages in public collaborative work around topics, I do think you have a way, an opportunity to access people through creativity. And it gets to the roots of certain conversations that might not come about any other way. And those are the kind of creative actions that mobile print power likes to put out in the world that I feel a great affinity to. I think it's wonderful and it takes the art to where the people are not expecting to come where the art is. And along with that, you have your own sort of pop-up take-along art. Do you want to talk a little bit about that? That's in the third room. Sure. And the middle gallery is the print lab. And my collaborative work, I have a colleague here named Colleen Kinsella, another artist and printmaker. And we formed a loose collective that is called Future Mothers. And we got a grant from the Kindling Fund through the Space Gallery last year to launch this project called Future Bridges, which is a mobile tent, which is really a mobile gallery and creative space that we can take out into the greater Portland community and engage with folks in the city of Portland on any number of issues that are important to them. So we had the opportunity from June through October to take it out into Portland on four different occasions. We had some great experiences working. We were at National Night Out. We got to partner with East Bayside Neighborhood Association and Mayo Street Arts and bring people together in that neighborhood to celebrate their community and talk about things that were important to them. And in the fall, we got to work with the League of Women Voters at Main Campus Compact and do a public event that was really aimed at getting people to vote, to participate in the electoral. That's wonderful. And it all, your little tent folds right up in a bag. Yeah, it probably is deceiving if you go and see it now that it collapses into a 10 foot tall by a few feet wide bag. But that was part of our goal is as much as we're, Colleen and I are both artists that do work like this in galleries and museums. We're very interested in taking our work outside of institutions. And I think for us and for our students to share that you have the opportunity to be an artist in all these different contexts and have an impact is really important for us to model as educators with our students. Well, and we all have something inside of us that, you know, that we need to find an outlet for that expression. And this is such a wonderful way. I think it is. I think it is too. And part of it is especially in the print lab is to create an opportunity for anyone to come into the ICA and participate in that process. So having it be open and accessible is really important to us. And people can come in now while the show is here. They can. And another aspect of the print lab is the zine fair, which three of my students put together. And so there's an opportunity to create small publications. We have a color photocopier setup and supplies for people to come in and create prints that are easy to make and easily distributable and contribute to the exhibition but also make and take something and bring it outside to the public. Well, thank you. And I know that it's an ongoing project. The tent will be traveling. When the snow melts, the tent will be back outside, but everyone has the whole up until March 3rd to come into the ICA and experience to work in the tent but also to participate in the zine fair. The next exhibition, which is unloaded and is curated by Susani Slavik. And she is a curator from Carnegie Mellon. And when working with her, she has a vision for this exhibition that actually travels to different locations. We'll get the exhibition next and then it will actually travel to its next stop right outside the NRA convention. There'll be a powerful exhibition around gun violence and it'll tell a story that's pretty timely around gun use and gun violence and the loss with guns. That sounds really fascinating. There's a piece of art in the front room here. This is three sections of the show and it says something like, what is the role of the artist? And artists have a voice and it's a voice that's a visual voice and for you to be encouraging that and supporting that and having artists work with people from all over the world right here in Portland is amazing. Well, I hope that's what... I hope that's the story we're sharing because that's important for the ICA. The new model that started once I accepted this position was to have external curators curate our exhibitions in the Institute of Contemporary Art. I do feel it's been a really great model for Mecca and also the ICA. It allows for us to have new and fresh voices come and be part of our exhibitions. So I think it's been very positive. And I think having those visiting curators really inspires the local artists here and highlights what they're doing and encourages them to be more daring. For sure, absolutely. I've been seeing this all around Portland and beyond and I also work on helping to support the press hotel curating their exhibitions and what we were talking about with them is how do we allow for folks who are coming and staying there to see artwork and see fresh voices and experience what Maine has to offer.


Hello and welcome to the session. Let us solve the following question which says the vertices of triangle P q r are P 2, 1 q minus 2, 3 and r is 4, 5. Find equation of the median through the vertex r. So first let us learn some simple ideas with the help of which we will solve the given problem. Suppose we have two points P and q's coordinates are x1, y1 and q is x2, y2. Now the midpoint of these two points P and q is given by x1 plus x2 upon 2 and y1 plus y2 upon 2. So this is the first idea and second is equation of line which passes through P and q is given by minus y1 is equal to y2 minus y1 upon x2 minus x1 into x minus x1. With the help of these ideas we are going to solve the above problem. So this is our key idea. Now start with the solution and firstly let us interpret the given question in the form of a graph figure. Suppose this is triangle P q r, point P is given by 2, 1, q is minus 2, 3 and r is 4, 5. Now we have to find the equation of the median through the vertex r. So suppose rx is the median. So x is the midpoint of line P q. So the coordinates of x is given by the midpoint formula by a key idea that is 2 plus or minus 2 upon 2 comma 1 plus 3 upon 2. Let us get 0 comma 2. So the coordinates of point x are 0 and 2. Now we have to find the equation of line which is the median of this formula. We will find the equation of the line. So here we have x1 is equal to 4, y1 is equal to 5, x2 is equal to 0 and y2 is equal to 2 and thus equation of the line is given by y minus y1 that is 5 is equal to y2 minus 5 and upon x2 minus x1, 2 minus 5 upon 0 minus 4 into x minus x1. So we have x minus 4 or we have y minus 5 is equal to minus 3 upon minus 4 into x minus 4 or we have 4 times of y minus 5 is equal to 3 times of x minus 4 or we have 4 y minus 20 is equal to 3 x minus 12 or 3 x minus 4 y minus 12 plus 20 is equal to 0 or 3 x minus 4 y plus 8 is equal to 0. Thus equation of the line passing through the points r and x is given by 3 x minus 4 y plus 8 is equal to 0 which is the median through the vertex r. So this is our answer. Hope you have understood it. Take care and have a good day.


Since that time, this vehicle has been used in a number of armed robberies, quite violent armed robberies that are the consistency of the armed robberies as it seems that similar motorshop or hand-eye steel bars have been used and on a couple of the armed robberies tendons, these premises have been injured. There was four robberies committed in the Metropolitan South Region 3 in the Logan area, all by these offenders. It's quite concerning because these happened in a short space of time and they seem quite desperate in their actions. And what's vulnerable is that these premises obviously are after hours, they're 7-11 service stations and the like, but we're quite convinced from the CCTV footage we've got and witnesses that there's the same group. Last night, unfortunately, we've had two attendants at separate premises at Mackenzie and Rochedale at Rochedale Coles Express and the service station at Mackenzie Mack, at Cabellabar Road. Both attendants were injured by these offenders using violence. Luckily, they're not seriously injured, but in saying that they went to hospital and had scans and obviously they're not, they don't hesitate in using violence. At this point in time, it's not a large sum of money, so again, they're quite desperate. They've robbed things from Pizza Hut, they've tried to gain entrance to bottle shops, so they're just what I'd say really on a rampage. At this stage, we believe some 10 instances at this stage that we're aware of. That's all on the south side of Brisbane and in the Logan area. This car was stolen last Sunday night, the 24th. They started off with an arm robbery at Wynnum. These offenders are wearing hoodies, often times wearing gloves, but as I say, there's CCTV and a number of avenues that we're looking at and we're obviously calling on the public that would know these persons that are somewhat desperate. We're obviously very concerned that a attendant at one of these premises is going to be hurt again and that's why we've called the public. We've currently got a task force in place. Tonight, we'll have a large team of police working looking for this vehicle because we think they will re-offend. It's metropolitan north, metropolitan south, and the Logan area that particularly will be involved in the task force. As I said, there'll be a lot of police out patrolling, looking for anything and acting on the information we receive. We're concerned about these soft targets, if you like, the premises that are open out of tonight. After hours, the single attendants, they're very vulnerable and all I can say to them has been very mindful of anyone acting suspiciously. There's nothing to say that they may use a different vehicle tonight or in nights to come. Obviously, be vigilant. As I said, they tend to wear these dark hoodies, cover their faces with shirts and gloves, often used. So anyone that sees anything suspicious like that, please let us know. At this stage, there's been consistently three involved, but there was this morning a siding of four offenders. So at this stage, up to four offenders, we'll put as many crews out there as we can. Technical crime units will be involved as well. In saying that it does appear to be four persons that are committing all these, that's not widespread involvement that we know of.


Okay, so my topic for today is how I build a static site generator with GALP. Anybody here are static site generators here? Alright, cool. So let's let me go on for this for a bit. I am Zelle. Basically you can follow me on this, Twitter, or you can go to my website or my blog on things I experiment with. And so the question is why do I want to make a static site generator with GALP? Like, when we think of static site generators, right, we usually think of jackal and middleman and things like that. For me, I want to make a blog out of it. Like, because jackal is like a blogging thing, so I want to make a blog because I didn't want to use WordPress anymore. Then I also want to initiate this behind this. Then the second one was to prototype anything quickly in front-end. Like I said, these things come to mind. These are the two main static site generators on the market, so middleman and jackal. And then I didn't want to use Ruby, that's why I didn't consider this. So then the next one came like JS stuff. There's assemble, there's metal smith and then there's winter smith. A lot of other things that are built on top of some random stuff which I didn't use and I didn't want to learn so much. So I didn't care about them as well. Then, like I said, this thing came to mind because I worked with pattern lab for a while. I really like how modules came together to create a website with different patterns. So like when I worked for the desk website, I was experimenting with a simpler version of the static site generator. And you can do data behind and everything gets binded quickly. I think your flux is on. Is your flux on? It's not on flux. Mine is just pure java script. Oh, it's very yellow. Oh yeah, my flux is on. It's like vintage. I think it's fine, let's just leave it on. Alright, so in short, I just want to make it super extendable. So any, I can just go on there without a quick website and very quickly with all the templates that I need. So basically let's do a demo. It starts, the whole static generator starts with one command. So just running gop will start the whole thing. So this is my terminal gop and it runs stuff. Making sure it cleans, do like checks, creates the pages, creates the posts and stuff like that. And then when it's served, it can go to localhost 3000 to look at the site. Basically, there are a few things about this site. There is a set of data that persists throughout the site. This is like normal like global data or what I call it. So you can use this for things like site URL, site username or for SEO stuff that you need to have. And then, yeah, this is what it does. The must have part of this is to create pages, you create the posts and you create, sorry for the testing. I was testing something and then forget about it. So basically it's to create posts and pages. Like the thing about this site is that you can hit to like block and this are some blocks that I have pre-set it up. So one page has about five blocks in total. And then when you click on this, it's a link to a post. And you can write markdown and stuff like that. So if I show you the code in here, this is what it looks like. All the posts suggest things like this. So you have the URL found at the top where it gives the title and formal links and stuff like that. And if you take a look at the URL here, you will notice that it's a pretty URL. If you're a folk to a HTML, you'll know that if to get this pretty URL, you have to put it in such a way that it has to go into the folder name. So in this case, training 123 slash index.html. If you do it the other way, it will be like work.html instead, which is kind of crappy if we want to put it out there for people to read through. So this is one of the challenges I have to go through. So it does a pretty URL with the formal link that is stated here. So that formal link is training 123. So if I change this thing to testing training, for example, then if I go back to my blog, the first one becomes testing training. So it gets off intermediate. Then creating, if you work with WordPress, how I define pages and posts are somewhat WordPress related. So posts will be blog posts basically. Pages will be things like index about those kinds of pages. If I hit back here, this return in markdown, for example, is a page where it goes to slash markdown straight away. So that's how I define things to be. And then blogs and tags. I'll show you the blog pages now. You have links to multiple different pages. You can link to different tags at the same time. So all these are automatically generated in the whole process. And then there are templates of things that you can use to get this data hot. Extras, pretty URL. So that's one of the things that is very important. Multiple data sources is one of the things that I cannot live without. For example, what we usually do with this static site generator and stuff like that when coding is that we have one big data JSON. So when it gets large, it gets complicated. And it's quite... I'll go through one by one. So here we are, we've done through. So data sources, the first part is front method. So we got the title and the permalink and tags from the front method. There's also, you can get data from any other file. So you can use this data thing in the front method to get data from anywhere in your project folder. So in this case, I'm getting from the data folder and the blog.json. Finally, you can write in markdown. So like here, this translates to a normal or a plural. It's done with a PTAG. This more is like a WordPress segment. So anything above the more will be the summary in your blog post. Anything after that will be content that's only shown on the blog post itself. Then in pages, you can write markdown just like this with a markdown bracket. So this, I'm using non-charts as my template engine, if you're wondering. And I made this thing as well. So you can use like... The plugin is not what I made but you can use it in this way. So basically what this does is... So over here I had markdown fragments in the additional data page. So we hit to the additional data sources. This is the markdown fragment. And this fragment is found in templates fragments. So you can just write markdown and then it will appear anywhere as you want it to be. The syntax highlighting, the code highlighting is done as well. So okay, next about the process. So there are basically four tasks in here to create the page, the post, the blog and the text. Creating a page is the simplest of everything. So I private through a front method first, then get some global data and go through a custom Nanyak template thing that I wrote that the Nanyak template basically gets all the data sources and feeds in the template, then creates the page itself. Then we run it through pretty URL to get the nice URL over there. The post is a little bit longer in a way because we have to go through markdown first. And then you have to get the summary, you have to get for me I want to write it in a certain... I want the founding to be in a certain date or certain type of founding. So this has to change. Then get the correct formaling, get the correct, get all the tags, get the blog and stuff. Then send it through the Nanyak templates. This text and post gets to the next two paths which will help to create the blog and the text. So these four things mix up the whole set excited character. And there's a custom coded Nanyak templates which I can show you if you're interested but it's going to be a bit dry. So anyway, templates, there are four different kinds of, five different kinds of templates. I had a layout template for all the SEO stuff and CFS stuff that is common for all pages. Then I have the blog template for all the blog archives. Like for example, you see for article and articles it will be looping through the five different articles that I have on my blog page. Then you can get all the formalings and titles and all that stuff. They are generally if you notice the title will be from the title front metal and formaling will be from the formaling front metal. So it gets the data from there. Then there's a tag template which basically is the same thing just for tags. And the post template. So one of the more interesting things is that this body here is the entire markdown file from the post. So I converted all the markdown content inside the Nanyak templates custom code. And for pages, right, because pages can be different they themselves as the template to output the code. So the similarities between the templates they all extend the layout template so I don't have to rewrite lots like the SEO stuff. Then they contain multiple data sources. Oh yeah, did I say that you can use like front metal in the pages itself as well? So that gets the data if it's required. Then you can get SEO you can do of course markdown is one of the things I use often. So markdown is pretty damn important to me. Code is not available publicly yet but we can talk about it or we can even show you the code. Yeah, once again if you want to get me like outside of here then that's my tutorial on my website or we can chat later as well. Samples Club I'm writing a book on automating workflows with GALP. So if anyone is interested in learning how to automate their front-end development workflow with GALP and other tools this is the one I'm writing. You can check it out at this page. I'll upload the slides I'll get the links to the slides later. And that's it. Any questions or anything? In your templates you have what look like Shopify type code worthless canonical. You have so kind of you know the mustache or percent something canonical It's not code You mean this one? Block canonical It's from the non-jab template Basically it's a template in everything It resembles something like Jinja So what this does is it goes into Alright, let me just show you the code. So that's the next model do you type that's your SEO? Layouts Like for example block canonical Basically what I'm saying in here is that in this position I define the canonical canonical tag or the canonical block And in my pages or in my block For example, I say Okay for this block the canonical the canonical is like that So it replaces the original one if there is a replacement Otherwise it would just use the same item So Why should I do a static website and also have you written it into before? I have written some of them But let's get back to the static website first Why should we do a static website because it's a lot faster We don't have to go through a database to get the content So you have heard of things like you have to create a cache for the database before to speed up the website So if you're on a static website it gets loaded up immediately without having to wait for another trip to the server and things like that So it gets people get to read it quicker and faster Are there limitations here? Currently you can't have logins and stuff like that if you're having a static website So eventually it's good for things like blocks But if you do need membership sites then you have to turn to other sources And yes I have written another book It's called Learning Suzy So this Suzy is basically a framework on SaaS that helps to write layouts quickly So What this does is that I have like say normally when we use bootstrap but bootstrap we have to use things like column MD9 So that adds to the complexity in HTML What Suzy does is that it extracts all of this back into the CSS and you can control your layouts exactly as you want it without having to do a lot of HTML manipulations So it's like a framework we can do like multiple stuff with code like this and this will be 8 columns for example So it helps with designing the grids as well So the whole thing is about how to use Suzy you can get 7 free chapters which basically are one third of the book I think Alright Any else? How often do you need generate your static pages? Right now because I refuse pages I basically generate whatever I say So it doesn't mean that every time you write a new post you have to generate a whole description Basically you can do it in such a way After you write a feature in a new post you can write a command like got deployed or something and then it deploys by building your stuff, checking everything It's fine and then it goes to the building process Does it have to rebuild the post that you did not want to write? It doesn't have to So for the archive pages like the blocks and the tags you definitely have to because if you add a post at the top then you have to rebuild the whole thing but if you didn't then it doesn't have to So leave those pages that and what you find But if you think about like a dynamic website I can't believe how long we've been doing this we've been building things which literally run the exact same code to generate the exact same content thousands of times it's just total madness but people do this all the time even people using like databases instead of writing exactly the content that you need so that you can retrieve it in a single read it will do a thousand joins to generate some content over and over and over it's just stupid it really is and caching but then you've got the complexity of caching so yeah this can handle caching as well so there's a catch bus thing in the optimization phase just before uploading I didn't show it because there's kind of thing like you can use it will catch bus the CSS and JS whenever it makes a new build so you don't have to worry about caching so one of the little extensions you can do is that my little generator it's like the generator page now look is it the same thing as I generated last time and if yes, I don't touch it so my file days stay the same and only the pages that really get changed then get the file names then if you look into directory which of them has been updated yeah definitely one of the ways that we can do this with Gulp is to check whether the output files are newer than the check whether there is any newer files like check the file days between the source files and output files and check if the binary content is much better that's this one way checking the binary content is another we can even check things like the layout of the page if anything has changed like with phantom CSS we use md545 with the same ring any other questions? what do you write in this? I write my books all in Magdala yes yeah everything in Magdala who is your publisher? me I put it up on my own website and they just sell from there would you recommend using like github pages or github? possible github pages is quick and fast but the only thing is I think you have to publish your book yeah I used to use another ruby base set agenda and every time I do that I just create a comic and just give the thing and you just shift whatever whichever that's different jaco basically what I want this to do is you don't have to push to github if you want to like I push to amazon for a test for example I can push to any other servers so you don't need a web server at all the DevFest website actually use that no the DevFest website uses an older version of this it uses something like that yes it uses something like this so you said that you didn't want to push to github because you want to protect your source or just wondering like what well there's something like like I think I want to protect my source in a way because sometimes I don't really want to put things on github because it's not ready for things to be out there yet if I put this up and then people start asking me questions do I continue developing this for myself or do I answer the questions or because like issues can come and go I thought this was talking about posting the blog post a source code up it posts your whole source code up as well if you want to use github pager so you don't want to support the system for one because the way I did it was only the publish page will be on github pager then I'll have to check that because I'm not sure regarding this I'm not very familiar with github pager okay I can check Have you been told that there is a source code for github draft? drafts not yet but I think I can cook something in maybe like a front method will be like drafts then won't publish or something like everything will be in the front method