Greetings and welcome to this edition of Campus Conversations. I'm Dan Moguloff from the Campus Office of Communications and Public Affairs. Today, we're going to be talking about the arts and humanities with two leading champions for what is an amazingly wide array of interrelated and deeply engaging academic disciplines. We'll be talking about, among other things, the strength of and interest in the arts and humanities at Berkeley, the evolving curriculum, and what might lie ahead for A&H in an AI-dominated world. With us today is Sarah Geyer. She's a professor of English and since September 2021, our Dean of Arts and Humanities. Her entire career has been devoted to advancing the humanities with special attention to private public coalitions, innovative faculty research programs, the public humanities, and inclusive collaborations across the globe. Stephen Best is a professor of English. In July 2022, he was appointed as the new director of UC Berkeley's Doreen B Townsend Center for the Humanities. Stephen is a scholar of American and African American literature and culture, with a record of scholarship that places him at a crucial nexus for thinking about institutional legacies and creating a more deeply inclusive humanity center at UC Berkeley. As always, we're going to welcome your questions throughout this conversation. Just post them to the Facebook Live site, and we'll do our best to get to them as we proceed. Sarah and Stephen, welcome. Thank you. Nice to be here. Yeah. So let's just start off with a little bit of biographical information, Sarah. Just a little bit about your past for people who don't know you, haven't met you, and what your first contact with or interest in the arts and humanities was. How did it all get started? Well, thanks, Dan. So I am returning to Berkeley. I returned to Berkeley in September of 2021. I did my PhD here in the Department of Rhetoric. And the Department of Rhetoric is really the only department of its kind in the country. And so I came to Berkeley initially to be part of a department that was thoroughly interdisciplinary, that was asking big questions, but also using methods like close reading to address those questions. From my time at Berkeley, I then spent 17 years at the University of Wisconsin. And when I was at Wisconsin, I, in addition to being a professor of English, directed the Center for the Humanities at Wisconsin for over a decade. And it was an extraordinary run. And among the many things that I discovered and was committed to while I was at Wisconsin was developing career internship programs for PhD students and really thinking about how the work that happens in a public university can reach a broader public beyond beyond that university. From my time directing the Center, I then became the president of an International Consortium of Humanities Centers and in that role, worked with humanity centers across the globe in order to foster collaborative research, which isn't always the norm in the humanities. When most people think about the humanities, they think about a scholar sitting in her office, writing a book for many, many years or sitting in the library doing really detailed research. This was an opportunity to think about how does collaborative research happen? How do scholars work across generations with early career scholars, with very senior scholars, with graduate students? So I came to Berkeley as Dean having done a lot of work in the global, the interdisciplinary, and the public humanities. But my own interest in the humanities started very early. Probably my first day of college, I had a sense that I would be a professor. I was always a reader. I read a lot of philosophy in high school. I studied languages early. And so my whole formation has been oriented towards the humanities. So before I turn to Steven and seek similar background and context, how do you define it? How do you define the arts? It seems so sprawling and so big. How do you put your arms around it? Well, there are many ways to define it. At Berkeley, we can define the arts and humanities by saying, I look after 19 departments and 15 centers. And those are the departments focused on literature and literary study, the departments focused on the arts, theater, dance, performance studies, music, as well as as art practice and film and media studies. And then departments focused on philosophy. And so that's one way we could look at them in terms of the historic disciplines. At the same time, there are scholars of literature who are working in the social sciences and there are anthropologists who are working in the arts and humanities here. And so what are we committed to? Or what are the methods that really define the humanities? Criticism, interpretation, questions of representation and questions of aesthetics are some of the fundamental some of the fundamental methodological tools that we use. But, you know, one of the things that I like to think about when we talk about what happens in the humanities is that the humanities are also and the arts and humanities are incredibly open-ended. And that's not to say that that's not to say that there are no definitions. There are very clear definitions, but we do have scholars across the division who are working on questions that many of us would think are questions of science or questions of social science. So it's at that moment, it then comes to what are the kinds of questions we're asking? And are there questions that are we asking questions in the same way about, let's say, the pandemic or about human rights? Are we asking them in the same way and using the same archives that our colleagues in other parts of campus are using? So are we using literature to ask questions about human rights, rather than than case studies? And that's really one of one of the key aspects. It's not always the themes, but it's the methods in the archives. Got it. What a great way to set the table. And having said that, Stephen, tell us a little bit about your background, about how you got to Berkeley and what your own take is and how you got interested in the arts and humanities and where you think the whole field is headed. Sure. I'll start with the last question first. That's my origin. Unlike Sarah, I let's say I came from a family where you became either a doctor or a lawyer or an engineer. So I went to college fully expecting that I was going to become a doctor. And it was a class that I took. I might have been myself more year on sort of women's literature, gender and literature that sort of opened my mind. And I sort of then decided I was going to become oh, and I was going to major in the humanities. I ended up majoring in art history. And my feeling during those years of being in college and having to make that decision was that in my humanities courses, I was being exposed to these really broad and powerful knowledge systems. Theory was all the rage, you know, feminist theory, African American literary cultural studies was sort of on the rise. And I felt like I was being exposed to these models for addressing large scale social problems. And I think that was really, really attractive to me as an undergraduate. That sense of the scale of the question. I think getting a PhD in some ways shifts your focus toward, like as Sarah put it, very sort of fine grained, monastic work in a field. But but that sort of was my beginning. And I I've always been sort of interdisciplinary in my thinking and orientation, you know, majoring in art history, but being very interested in literature, very interested in philosophy. So that's always been part of my makeup. And I sort of came to Berkeley when I finished graduate school. It was my first job. It's the only job I've had. And so I've been able to sort of like many of my colleagues sort of see Berkeley from a series of perspectives, a series of advantages of a junior faculty member to a full professor. So that's yeah, I mean, I, you know, we're going to probably get here at some point, talking about intellectual life on the West Coast, but I I always thought I was going to be at Berkeley only for a handful of years and it's approaching three decades now. So I guess that that happens when you come to Berkeley. Steve, I want to say something about that. So I left almost to the day 20 years before I returned. So I finished as a graduate student in 2001 and I came back in 2021. And I would say just about everyone from whom I took a graduate seminar, either was still on campus or had retired on this campus, which I don't think we can say about about most other places. I do think that that is what shapes the arts and humanities at Berkeley, is that incredible longevity, that sense of commitment to a project that is is really, I think, unique to this, to this place. Before we go on for those who may not know about it, talk a little bit about what the Townsend Center is, what it means to have a humanities center within a university, why we need one and what its role is. Yeah, I mean, I'll pick up on something Sarah said earlier, right? In our fields, the humanities and the sciences, but it looks a little bit different in the humanities. We value and honor specialization, mastery of a field of knowledge, and that requires kind of solitary work, working on our books. And humanities centers often serve as kind of connectors. You know, when I became the director of the Townsend Center, I I sort of read the mission statements of other humanity centers just to sort of see both how Berkeley was in the tradition of the Humanities Center or also at an angle to that tradition. And the word you often come across in those mission statements is interdisciplinary, that like humanity centers are kind of the places where faculty get to sort of think and talk across the disciplines. I think humanity centers are also an important place for intellectuals to gather, to discuss challenging questions that shouldn't be left to any particular discipline. And we can sort of talk more about that later as we talk about AI, etc. But I do think humanity centers sort of. The humanities, another way of thinking of the humanities is there are the fields. Well, there feel the field fields in which people scholars pursue, study particular objects, right? We all have an object on the novel. You know, 19th century French painting. We all have a kind of tradition of objects. And humanity centers are sort of places for us to to open our questions to other other disciplines, other fields. So I think that's one of the. Forms of kind of exchange that the term interdisciplinary is meant to kind of signal. Got it, Sarah, before we just want to for people who joined us late, but I want to come to you next and talk a little bit about sort of the health and well-being of the arts and humanities on the Berkeley campus. And for those of us who are joining a little late, we're talking about the arts and humanities today with Dean Sarah Geier and Professor Stephen Best, who's the director of the Townsend Center. As always, we welcome your questions. If you do have questions, post them to our Facebook live site. Thanks. So, Sarah, you know, I've read some pieces about declining interest and there's always these pieces about how more and more students' orientation to higher education is highly vocational. What are we seeing at Berkeley in terms of interest in the arts and humanities? How are things going? Well, it's a great question because things aren't going the way most people think they're going. So there's a story about the humanities. There's a story about the humanities that I was told when I first showed up on campus that our student credit hours are low, that students are enrolling in our courses, that high school guidance counselors aren't encouraging students to major in the humanities. And that's exactly what I expected when I showed up on campus. And it's not surprising that I would expect that because just last week, a university decided that they would close all of their humanities departments. Or when we look internationally, we see that places like Australia are thinking about charging surcharges to students who want to study the humanities. Yes. Yes. So that there's a search, a humanity surcharge because it's it's not a vocational or it's it's not a degree that leads to to a vocation, which this is a little bit of a sidebar, but Steve and I was thinking about something you said earlier, which is my father was a doctor who was an English major. So these aren't either, either ors. So what I was completely surprised to discover when I came to Berkeley is that there's enormous interest in the humanities. Now, that's particularly case, the particular of the case in a set of departments like film and media studies, music, history of art, art practice, which is a major partly because of the studio or lab like requirements does have limits on how many students it can really serve in the way that it would want to. But but students are interested. And then that led me to ask why, you know, first of all, what's changed? Because for the past 10, 15, 20 years, we've been reading. We've been hearing about an ongoing crisis in the humanities. Majors are shrunk. Students aren't interested anymore. They're just kind of the kinds of problems or questions students are interested in, maybe questions having to do with public health, questions having to do with human rights haven't led them to come back to the or certainly questions about data science and AI, which we'll get to, have led them outside of the humanities rather than towards the humanities. But at Berkeley, it seemed not to be the case. So I started to ask why what's changed at this moment so that students have come back to us and some things have changed in the lives of our students and some things have changed in the lives of our campus and the lives of our department and the two have converged. So if we look at students who have started college or who are finishing college right now, what what have they experienced over the past four or six years? They've experienced a global pandemic that really changed everything for them. What is social life? What is an education? What can I do? What can I not do? What's my relationship to the world? What are what's happening in cities? So they experienced the global pandemic. They experienced the racial reckoning, largely with George Floyd, which raised all sorts of questions about privilege, about institutional racism. And really, many students were looking to make sense of what they themselves have gone through and make sense of it, not only empirically, but also in terms of their imagination, how much is race in this country and globally an effect of the imagination and how to litter turn philosophy and the visual arts help students to make sense of their own own experience. They've grown up with climate change and climate change is something that is both completely palpable and totally mysterious. They don't know how it will we don't know how it will affect our future. We can predict it with tremendous care, but at the same time, the emotional effects, the political effects of climate change are serious. And finally, they've lived through what many call a crisis of democracy, the country and the political system that students thought they knew and understood and could rely on doesn't look the same way that it did three, four, six years ago. So if you're 18 or 20 and you're coming to college, one of the things that you're coming to college trying to understand and figure out is what is this world that's yours and how are you going to live in it? What decisions should you make? Why are those the right decisions to make? And there's nowhere else in in the university that is as focused on questions of ethics, questions of the imagination, questions of who and what it is to to be human in this world than than the arts and humanities. And we can talk a little bit about the arts as well, but that's kind of the overarching sense is students are here. And I mean, the other thing to say, Dan, is students are happy. And that's not a story that we usually hear about the humanities. We've read so many stories in Washington Post cover. All these kind of mainstream media covers a story that says Student X majored in English or majored in history of art and really regrets it. They can't find a job. They're not making enough money. It hasn't changed them. They wish they'd done something else. But that's not true for Berkeley students. And I think that is is incredible. And I'm glad to think a little bit about why I think it has to do here with how we teach what our our curriculum looked like and what our classrooms look like. So we'll circle back on that. But Steve and I want to ask you the same thing, but you have your finger on the pulse as well. But it was sort of I'm struck by something that Sarah said. If I could if I followed the bouncing ball correctly, which is things are really bad and difficult in the world. So bad times for the world, good times for arts and humanities. But and in the midst of all this sort of darkness and challenge, students are kind of happy. So there are these really interesting streams there. What do you see from your vantage point? I mean, it's interesting because I'm not at all surprised by that kind of convergence, as you describe it, dark times, intellectual and ethical pursuits. It seems that that make that makes sense to me. I mean, what listening to Sarah, one thing I thought it may be a side note, but I but I think it's worth mentioning we may kind of come back to it a little bit later is, you know, I'm also very kind of mindful of all of the recent efforts essentially to legislate against the humanities in, you know, bills in Florida and Utah to remove majors in gender studies. Theory, I couldn't even believe that like now, you know, that like that they're legislative attempts to sort of outlaw the teaching of theory that that that that is also sort of part of our moment in terms of target, like it's not so much the demise of the humanities. It's like the targeting of the humanities is this issue I feel is very much kind of certainly on the on the on the table for the next electoral season. Right. Well, let me just interrupt you for a second. Do you think that's the result of the somehow the human the humanities having become politicized in a way that other academic disciplines have not? And no, my I don't know what Sarah's answer to that question would be. I suppose my answer is no, like the politicization of I want to know what what's behind the quite like what what what you're perceiving in the question. Right. Like no, no, I'm just asking is that we don't hear political debates. And like the teaching of physics that humanities is it simply because the humanities are so engaged in the real world around us that as as a matter of course, it vacuums up sort of political issues and positions. But the kind of headlines, the ones you're talking about, is that something new? The fact that, you know, what students are learning curriculum courses are something that politicians running for office are talking about. Well, they're also talking about climate science and they're talking about evolution. So there is probably a history. I'm not probably there certainly is a history of science being politicized. And there's a long history of book banning in and and the management of of high school and and even undergraduate or even university education. So I don't think it's entirely new. Although, I mean, I'd be interested to hear what you think, Steven. But, you know, what has changed is that in many ways, education has become more more progressive and more inclusive. And so, you know, Catcher on the Rye was once a band button just to give in, but now we're thinking about students reading much more expansively and thinking in different forms of institutional and national self criticism. And I think that the focus on self self awareness and self criticism in a humanities education, whether it's of one as one self as a person or as an agent or of the institutions to which one belongs, really has has gotten attention and maybe that's what's new is is the kind of question of institutions that has become baked into an education. Yeah, I think what's different, I think, Sarah, you're right. There's a kind of long, longer history here earlier, the earlier an earlier face of it we would have called book banning. But but I think what feels different right now is that what's being targeted are what we would call the humanistic fields or humanistic disciplines, that seems new. But I think you're right. But I think you're right that it is part of a much longer tradition. Yeah, Sarah, I want to go to a question that came in actually from a parent, a parent of a freshman who was interested in the humanities and wondering if Berkeley has enough depth in the humanities to engage his daughter. He this parent is hoping she's hoping her daughter will find, as she says, her people. So what how do you respond to those concerns and are you guys growing? What are you doing to accommodate this continued interest? Well, the big picture answer is yes and yes, which is to say I don't think there's any wire that has the depth that that Berkeley has, the number of languages that we teach, the range of disciplinary methods, the the libraries, the conversations and and the diversity of students. So I having not met the student and not knowing anything about her. Absolutely. I feel very confident saying she will find her people. So so that's that's one thing. But we have 15 faculty searches going on right now. And just to give you a sense of the range of those searches, they range from medieval English to critical race theory in film and media studies department to Arabic and Islamic literature in a comparative context, in comparative literature, and there are a dozen others. So just to give you a sense that that that there is range. And what I think is unusual about Berkeley and this kind of points is something I said earlier, which is that everyone who I took a seminar from just about everyone who I took, everyone but one who I took a seminar from as a graduate student, spent the rest of their career at this institution and retired here or is still on the faculty if they haven't yet retired. So Berkeley has this incredible way of of managing both what sometimes would get called the traditional or the older humanities, which we would associate with the study of the Italian Renaissance or which we would associate with medieval studies, Europe, high art and the newest of the new humanities. And what I think is most unusual about Berkeley and really part of its signature is that its commitment to both to both the traditional, the core, the fundamental historic areas of the humanities and also to completely breaking that open and doing new things so that you would have a scholar of Victorian literature also being at the cutting edge of trans studies, or you would have the graduate program in the English department here, which is always the best program in the country. What makes it the best in part is that it's so committed to the English literary tradition and at the same time uses that commitment to break open what that tradition is. So what's what's new and what's growing at Berkeley is also not opposed to its history, but is always building on on an incredible history. And there's there's much more to say to say about that. But I think that's why students are so excited as they both have the grounding in a historic tradition and they have the opportunity to ask really new questions that matter for their lives and for the world they want to live in. Yeah, amazing. I mean, Steven, Sarah paints a really interesting picture of an academic discipline that's evolving and expanding and developing. And I've heard phrases like global humanities, environmental humanities that aren't phrases that I heard when I was an undergraduate. What's your perspective of what's happening to the field and what's happening to its appetite and its interests? And how is that impacting the kind of people who are majoring in, who are teaching, who are dedicating their lives to the arts and humanities? What's new? Why? Well, I think to echo Sarah's point, like just from the perspective of the English department, it's a field that's constantly kind of it is self involved in a kind of self interrogation. So when I arrived in the English department, literature in English was largely American and British. And since that time, we've made lots of hires in a broader array of national literatures in English. But also we've started to kind of interrogate, you know, the question of like whether all American literature is written in English. There are American literatures that are not written in English. And so it's a field that's constantly asking itself these questions about what's in this field, what's excluded from this field, how can we rethink what we do such that we can sort of continue to sort of expand and grow the sort of the playground of the discipline? So I think that that sort of self interrogation is part of what's vital and and and makes the field feel alive. I don't know if that answers your question, but I but from my own perspective as a faculty member, starting as a junior faculty member, I feel like I've witnessed that over the years in my department alone. So, Sarah, I'm curious, given that given the evolution and the development of the expansion, however you want to call it, how has that impacted or helped you define your goals as the dean? That's a great it's a great question. So my overarching goal as as dean when it comes to undergraduates is to make sure that every student who wants to major in the arts and humanities or take classes in the arts and humanities study the arts and humanities feels like they can. Now, what does that mean? It means we have historically, at least over recent decades, lived in a society where if you were to go home and say, guess what, I'm majoring in philosophy or guess what, I'm majoring in history of art. There are many, many families, particularly but not exclusively families with where the students of first generation undergraduate, where the cost of Berkeley, even with programs in financial aid, is still really significant because it's expensive to live in the Bay Area, that every student who wants to major in the arts and humanities understands that they can, has access to the courses that they want to study and feels proud and entitled to that destiny. And and for me, that's what what what will allow that to happen is that students have access to a narrative about the value of the humanities for themselves as individuals and as students, but also for our society. And related to that, that that we can tell a story about the arts and humanities that isn't only subversive, that isn't only critical, that isn't opposed to a career narrative, but that's actually the grounds for a successful career, whatever that career might might be. So that's that's one one of my goals. One of my other goals is as I look around this extraordinary campus and this extraordinary division, there are historic gaps and there are areas where we haven't invested and one of those areas is in the study of Africa and the African humanities, so we have a very long standing commitment. Probably unique or amongst the very top in the country to understanding the humanities in Asia, we have two departments that are committed, focused on Asian humanities, we don't have a department focused on Africa. And in fact, those departments where we would expect students to be able to study, whether it's African languages, African literature, African philosophy, we don't have faculty right now or enough faculty working in those areas. So one of my other major commitments as dean is to look at historic gaps and and address them and address them through hiring, address them through through bringing new visibility to them. And this has been a project that has at this stage actually garnered widespread support amongst my departments and department chairs. So one of the things I hope to be able to accomplish in the coming years is to hire many new faculty working in and on the humanities in Africa. And history of art has really been at the cutting edge of this with two new extraordinary members of their faculty working on African and African diaspora guards. Well, it's really there's so much going on. It's so exciting and I can't help but ask even sort of the same question. Your goals as director of the Townsend Center for the humanities. What what you've got your eyes on for the future? What's your prioritizing right now? Well, coming out of the pandemic, one of my goals is to help my colleagues to sort of reconstitute our sense of intellectual community on campus. I would I also want the Townsend Center to be a partner with other campus units. So so one of the things we're very much looking forward to is starting next year, we're going to be collaborating with the Berkley Center for New Media on a series dedicated to AI and the humanities. So in the with Tom McEnany at Berkley Center for New Media will be working to sort of essentially bring sort of typical Berkley high level in thinking and engagement to the very pragmatic questions that are confronting us as humanists and as professors generally around AI. So we're hoping that these will be events where, for example, we want to do an event on translation where we have both scholars who translate and who work in other languages on the same panel as the engineers behind Google Translate to sort of talk about some of the challenges that say Google Translate. Some of the challenges to sort of language instruction and evaluation that come with having these sort of AI tools at our fingertips. But that's just one thing that we're hoping to do starting next year with the Berkley Center for New Media. All right, I keep pushing it off. We're about to get to we're about to get to AI talking a little bit more about that. I'm still kind of blown away that how the humanities came to embrace artificial intelligence, but or at least engage with it. Before we go there, just another interesting question that came in from somebody who's watching and listening today. And here's an interesting question. They ask, does the preoccupation with STEM in early education send the message that the humanities are irrelevant? Are in other words, are you guys trying to push something up hill here? Face challenges that really find their genesis early on in our education system? What do you think about that, Sarah? Yeah, you know, this is a question I thought a lot about. How much how much does what we're dealing with in terms of student interest and student enrollment emerge in fourth grade or in fifth grade when students have a really clear, clear track? You know, I also think that young students are encouraged to be poets. I'm a parent.  And there there's clearly a strong, strong focus on STEM and how many AP chemistry and physics classes you can take. But at the same time, poetry, literature and the arts is also what we raise students in and on. So, I mean, but what I would like to see is for us to build closer relationships between early and high school education and the university. We don't operate in a vacuum. And Berkeley is so unique because we have the most extraordinary faculty Pulitzers and Guggenheims and people at the very, very upper echelons of their fields, working with undergraduates, first and second year students who are coming who are coming out of public education for the most part in the state of California, that we can do that is just extraordinary. And I think it does turn students on to realize that they can be in a room with an author of the book that they've read or a poet whose work they came across in high school. You don't get that everywhere. So it's not an uphill battle at Berkeley because the arts and humanities are so exciting at Berkeley. OK, artificial and AI. Let's go to AI because it's like half the world is going, oh, cool.  There is this complete bifurcation of reactions that this is sort of the sign of the end of days and for others, a brand new universe is opening up before us. You know, and it's all really started with a rollout or really accelerated with the recent rollout of chat GBT and there's concern in higher education about teaching, about cheating, about how are you guys help us think about this? Stephen, let me start with you because you've got the series kicking off at the Townsend Center. Talk to us about the whole AI and humanities thing. I mean, it's interesting just again, I keep there are little seeds that are planted, you know, when Sarah says things, you know, the classroom where students are getting to talk to a poet about the poem, right? There is, of course, I feel like there's a labor issue with AI and there's a cheating issue with AI. And those are different concerns, right? The AI generated art or the AI generated novel, right? Part of what we derive as value in works of art is that felt need to talk to painters about painting, to talk to poets about poetry and no AI is going to ever sort of disrupt that felt need to talk to creators about the things that they're the objects that they're creating that we study in the humanity. So so I think that's partly why the humanities needs to be at the table within the discussion, but I do think there are the ways for the humanities to kind of disrupt the current conversation around AI, which is what we're hoping, which is well.  Like we think when we read a get a readout from chat, GBT, that we're encountering a kind of encountering a kind of intelligence. But but but that. So so that like it obviates the need for humanistic labor, for learning how to write an essay, for having critical thinking, but it doesn't. Like, you know, it isn't an intelligence, right? It isn't it's it's scraping large data sets for like the right way to sound when writing an essay. But I kept thinking over the weekend as we prepare for this for this discussion, I knew it was AI was going to come up and I just kept thinking of the phrase a kind of a machine that runs on its own exhaust, right?  And no AI is going to disrupt the the need we have to talk to artists about their art. Sarah, what do you see? Thread or opportunity or a little bit of both? So first of all, there's a question of scale, right? So there's always been fiction, there have always been fakes. There's always been anxiety about fakes.  So this is a question of scale. It's a question of student responsibility. I'm not sure before you go on, I'm not sure what you mean by scale. Well, it's not the problem isn't entirely new. It's just and it's at a problem of of a fiction or of a fake or of dissimulation. It's just at such an extraordinary scale, both in terms of the scale of its quality and the scale of and its size, like just how accessible this is, how how massive this is as a change. So it's not about a totally new category to me. I think it's a question of scale. That's one thing to think about. Students have cheated all the time. They've hired people to write their papers, right? Now you can do something that involved a very individual transaction with a kind of smoothness that is unprecedented. So that's what what I mean by scale as as a shift. One question I have is what will what effect will it have on our talking to each other? How important will the classroom be? The seminar, the humanity style classroom, the making an argument on your feet, the kind of the give and take of of a conversation that happens, a really good discussion that happens in a seminar. How important will that now become when writing can can be manipulated, manipulated? And what's so strange about this is this is a conversation that's been going on since the 18th century about writing and speech and that artificial intelligence would send us back to conversations and back to thinking that Rousseau was having about how writing can be kind of faked, really, in a way, how how how writing does or doesn't signify presence, how speech, how how important is speech to know that someone is really thinking behind you and in person speech? I think that's going to be one of the big conversations that we have going forward is what happens in the classroom itself, not just when a student is on her own or their own writing. So those those are some of the things that I've been thinking about. But doesn't this also touch it almost feels like a can opener? Doesn't the the questions around AI you roll them out if you expand a little bit, touch on the the basic conversation of what we're talking about when we talk about higher education, about its purposes, about where it's supposed to leave the student when all said and done, right? Aren't there some larger themes here that could not be more current and modern? Absolutely, absolutely. And so there's questions of of ethics and honor that are clearly part of this question. There's questions of the human and the nonhuman and what we value. We all depend on AI in all sorts of ways. So it's not as if we're going to live in a world where there's there's no AI or where we don't want to. We all want and need AI more and more to play our music, ultimately to drive our cars, let alone I mean, some of our papers are kind of the least of it in terms of where AI is going. So but if at universities, we can prepare students to know how to live in this world, to ask the hard questions, to figure out who they want to be and what they want to do in a world that has gotten increasingly complex because the very question of intelligence is is now a question in a way that wasn't 50 years ago. Then that's we need universities all the more because it's how to live with this. It's not just a matter of it taking care. AI is not going to take care of our problems. We need to take care of our problems in a world where AI will become dominant. Yeah, amazing. And so, Stephen, are there other things out there on the leading edge of arts and humanities besides AI, that that the practitioners and those who really live and breathe it, that that's brand new, that's exciting in the field? Or have are people really focusing on this right now? People are focusing on this right now. You know, I think with AI. One last thought is that. It's not about is this good for us or is this bad for us? It's about formulating a series of critical questions so that we know how to kind of negotiate our relationship with these new tools, learning how to kind of contextualize AI social impacts, learning how to consider the kind of racial implications of automated algorithmic responses. So it's just trying to think critically about that stuff that I think is where we are sort of right now as humanists. In terms of like, like. Your larger question, the humanities, I don't, you know, I don't know. I know that there are like, there are people I'm very interested to bring to the Berkeley campus and that's another thing that the Townsend Center does a great deal of, which is to sort of have these sort of marquee events where major filmmakers, artists can come to campus to interface with our students. So that's a. That's a big goal for the coming years. We're having. Scholar, see on I visited us this week, the filmmaker, a pitch upon Verus, a taco will be visiting us later this semester. These are the some of the things that sort of draw or make the Townsend Center kind of a magnet of activity on campus. You know, so the magnet, the magnet idea, the question is something else I wanted to ask you about, because aside from Berkeley, Berkeley's ability to maintain its strength in the arts and humanities and and beyond the fact that Berkeley students continue to be very interested in the arts and humanities. I'm aware, Sarah, there have been some developments. The consortium of humanity centers and institutes that it has a new role here at Berkeley that you're playing a role in this. Talk to us a little bit about the institutional positioning that that's happening right now and where Berkeley sits in this whole world of arts and humanities. Yeah, absolutely. So we spent a lot of time talking about departments and just how extraordinary our individual departments are. We spent a lot of time talking about the Townsend Center and there's also the Center for Interdisciplinary Critical Inquiry and the Arts Research Center. So Berkeley has a tremendous commitment to the interdisciplinary humanities. But when the consortium of humanity centers and institutes, which is a consortium of about 200 humanity centers and institutes, the majority of which are located at universities, some of which are university adjacent or independent, but most of which are operate like the Townsend Center are based at universities. When the the consortium is in the process and almost completely moved from the University of Wisconsin, where it was located since about 2017 to to Berkeley, with that move, a number of things happen. So Berkeley then becomes connected in an integral way. It becomes the hub for the global humanities, which it already is intellectually, but in terms of international partnerships, Berkeley is and will be the home and the site of a network of two hundred two hundred universities in mainland China across Europe in South America. And and what happens when that happens? The consortium started at as a partnership between UC Irvine and UVA. It then was housed at Harvard and Duke and then has been moving westward of stopping in Madison and and really stopping at a public university for several years. And now by coming to Berkeley, it really will be on the Pacific Rim for the first time substantially. And as we think about the future of the humanities, one of the things that I've been thinking about as I we talked briefly about directing the World Humanities Report has been the growing role of China in supporting the humanities. This is not a topic we have enough time to talk about now, but we'll hopefully find another time that as funding for the humanities in Europe and North America, especially the United States has really shrunk, funding for the humanities in China has grown and that comes with a whole set of complexities. And by being located in California, CHCI I think has the opportunity to deepen Berkeley's connections to the humanities in Asia and also Asian connections to the humanities here in the United States. And there's no moment where this will have been more important. I think because as we think about academic freedom, as we think about human rights, Berkeley has long standing signature commitments to those areas. And so as CHCI lands here, we also have an opportunity to reaffirm the commitments that we have institutionally to academic freedom and and to to human rights. So we only have a couple of minutes, but just I just like to ask you guys for some final thoughts, because it sure seems like one of my my original hypothesis. Bad times in the world have been really good times for arts and humanities. And that in turn has really put Berkeley front and center. So all told kind of a net positive Steven, some closing thoughts on on the humanities in Berkeley, as we say goodbye today. Well, of that original equation that you sort of laid out, I think, you know, it actually makes the humanities sound much more vocational and like pragmatic. Do you know what I mean? In the sense of it being a kind of response to the desire to kind of find sort of solutions to problems that we're confronting sort of in the everyday on the national scale, internationally that that students are turning to the humanities for solution. So it's just very interesting to sort of think about that again, that crossing of like dark times for the world, good times for the humanities at Berkeley as suggesting something about the the the way in which the humanities has a purpose is to some extent I'll use the word vocational in quotes. I was thinking more about relevant. OK, OK, relevant. Yeah, fascinating, Sarah, closing thought from you. So two things. First of all, you know, the aftermath, and this is one area that I've focused on my own research, but the aftermath of of the Holocaust and of genocide was to ask the question, do we need poetry? And it turns out that the question was the answer to the question was yes. And that poetry not just to kind of not as an avoidance mechanism, but actually as a means of expression and ultimately, as I would say, as a means of living and complexity. And so that's my second point is that what the humanities allow us is to be in complexity and questions that we might never answer in our own times. Yeah, we are going to ask the hardest questions with a sense that we won't necessarily ever get to the answer. But we might get a little bit closer. And so is it about good times or is it about bad times or is it about the sheer complexity of our world, which is always there in the background? Beautiful. That is a great note to add on. What a fascinating conversation. It's just another reason it's so great to be at Berkeley. So thank you so much, Stephen and Sarah. Thank you, Dan. Thank you, Dennis is great.  And we hope to see you next time around. Have a great afternoon and stay dry and warm.


A lot of people have been direct messaging me, asking me what they should choose for a career, how to make more money, and I'm here. This is actually 96 acres of land I just bought in Virginia, long-term real estate investment that I just made. It's cool down there. It's got a log cabin from the 1830s on it. But here's my answer. For most people, there's a few exceptions, I recommend two things. Number one, create your own business. Even if it's only part-time and you have another career, never rely on only one source of income. It's too dangerous. Don't put all your eggs in one basket. Number two, take the profits or some of the profits and invest them in real estate. I've always been a part-time real estate investor. I've never been a full time because I've always been doing businesses that have created the cash flow, but then you invest in real estate. Why real estate? Well, they're not making any more of it. That's what they say about land in real estate.  Second thing is everybody needs a place to stay. It's the most in-demand business that you can get in. So there's been more millionaires created by real estate and a lot of the programs that I create online, the free ones, the paid ones that I have, are on those two subjects. Creating a business is multiple ways to do it. I've been teaching people how to make money with social media, how to run social media for businesses and get them to pay you $1,000 to $10,000 a month. It's been working amazing. You probably see on my Snapchat and Instagram all the stories of people's success. Now, not everybody's successful. My lawyers want me to say that. Some people don't make any money. Some people don't put in the time, but it works for a lot of people that actually put in the time and don't procrastinate and fall through. And then I've also got this real estate program that I built with a full-time real estate investor, Cole Hatter, one of my business partners on how you can invest in real estate and even start because the thing is you've got to start somewhere. So if you want to learn more about my programs, I'm going to put a link below or above. You can start out with some free training on how to start your own business. I recommend, if you don't know what to do, try social media. Social media is a great way to make money and I'll show you how you can get small businesses where you live or other places to pay you one to 10 grand a month to manage their Instagram, their Twitter, do some video stuff for them. They don't know how to do it. They'll pay you. So click the link above or below and it's absolutely free. You don't got to put a credit card in. You can get started with the free training. I also have some paid courses you can do if you're really interested. But start with the free stuff. See if it interests you. Don't procrastinate. Make sure you invest in real assets like land, businesses, not just things at restaurant and depreciate. Where else all you'll do is make other people wealthy. That's what most people do. They buy fast food. They make their landlord wealthy and there's nothing wrong with that in stages, but you got to have a long-term plan that's beyond that. So just get your first property and there's a way right now. There's a trend, a new trend, relatively new where you can flip homes without even owning them. So if you don't have much cash, you can actually flip the property. It's called wholesaling. I just call it to keep it simple. Flipping homes, flipping real estate contracts. You flip the contract. You don't even have to own the land. Sometimes you want to own the land. Sometimes you just flip the real estate contract to somebody else who will actually do it and you can do that with very little money and you don't need a great credit score and stuff like that. So that's my advice. Get out there, create some extra cash flow, an extra source of income. Don't just rely on one. And number two, buy a house. Get a rental property. It can be a cheap little house. So if you want to learn more about this, click the link below. You'll see it should be somewhere here. Two different programs. You can learn about both of them or just one of them. I highly recommend you consider either making money with social media. It's one of the cutting-edge trends or with real estate. Real estate is old school, but old school sometimes is the best. So yeah, click the link above or below.  People are paying rent 6, 7, 800 bucks on it. Now you got to look for the deals because you can lose money in real estate, but anyway, I'm going to put a link below to these courses. Okay. I highly recommend click on them. I got two courses, social media marketing agency. That interests you. Start your own business part time. Get businesses to pay you one to 10 grand a month. And I also have another course, this real estate flipping program. Click the link. It's absolutely free. I got free training on my website. You can start out with the free training. If you're very interested, I got some paid advanced VIP training you can do too. So click the link below or above. And yeah, I'll see you over on my website.


All right, folks, I'm going to get started here. Thanks for coming out. USB keys have two files you'll need, the Vagrant file and the HTTP exploration box file. If you don't have Vagrant and VirtualBox, there are executables on there for Windows, Linux, a couple of variants of Linux and Mac. You'll need to have those installed. I'm going to do a half hour lecture, hopefully a little shorter than that. And then we'll have about an hour to run through the exercises. The exercises will walk you through starting up Vagrant and everything you need to do. So I have Charlie Sanders helping me out. Raise your hand if you need a USB key to get the files from. So basically, you've got half an hour to get all that working. If you don't, don't worry too much. You can pair up with the neighbor. I would appreciate feedback, negative or positive. You can tweet me at Craig Buchek. The email address is up there. My presentations are on GitHub. I haven't put the latest versions of this presentation yet, but it should be there tomorrow. If you guys want to follow along, tiny cc-hdv-exploration with an underscore, we'll take you to this presentation. Actually, I think I need to update that. So I'll do that when we get to the exercises. The exercises will be in there too. So I'll update them when we start the exercises. So the reason I started doing this is I actually have a previous life as an assistant and a network admin. So I've actually done a lot of troubleshooting of HTTP, going through networks, going through firewalls, and now I'm a Rails developer. So I've seen both sides. So we're going to talk about HTTP basics, request responses, talk about proxies, some troubleshooting, and HTTP too. And then we'll get into the exercises that touch on all of those. So HTTP's been around since 1991. The first version didn't actually have a version number, but retroactively we call it 0.9. It was standardized in 96. The version that we typically use now was standardized in 2007. That RSC is very handy if you have any questions about how HTTP works. I was just updated a few months ago. It was broken up into multiple pieces, basically in preparation for HTTP too. HTTP too has been ratified, standardized, but it hasn't been published yet. But that's a good URL to check out if you're interested. So HTTP is stateless, which means that each time you connect to the server, it doesn't really remember what you did the last time you connected to the server. And the only way around that is through cookies pretty much. It is text-based, that's kind of the whole point of the presentation. We're gonna look at the text that's going across the wire. And it's a request response cycle. Your client, your browser, will make a request to the server. The server will respond. So we're gonna talk real quick about URLs. So pretty much every piece of that URL on the screen will go from the client to the server except for the fragment. The fragment just tells the browser to go to this specific spot on the page. The scheme is going to be HTTP. The host is obvious. You can specify username and password in the URL. Recommend against that, but it's possible. And then the path is actually the piece that goes that we'll be working with for the most part. All right, so the HTTP request looks like this. That thing in green is called the method. So we'll talk about that in a bit. The next thing that's passed is the URL. Usually it's not the full URL. Usually it's just a slash. It starts with a slash in its relative to the top of the site. And then you have the version of HTTP specified there. In blue are the headers. So the headers are sort of metadata about what you wanna get or what you wanna do. In this case, there's a host header and a content length header. And the body, not all requests have a body. If you're just getting something, it won't have a body. But if you're posting something or putting something, it will have a body. In this case, I tried to put something to Google's front page. Probably not gonna work. I actually tried that and it gives a 405 error, which it's hard to find. So that's the body text, basically the content that you want to upload.  Say get this page.  A post is when you want to update something or when you submit a form. Although some forms can actually do get depending on if you're changing something or just doing a query. Like when you go to Google's front page, that form, when you type in the query, that's a get, because you're actually just asking for information you're not asking to change anything. A put is actually, it's an update or actually it's more of an upsert. You're saying I'm giving you the whole thing, replace whatever you got if you have anything, otherwise create it. Rails is a little weird on that. It doesn't actually do the create part of that. So it uses put a little bit oddly. Delete does what it says. If you have permission, you actually can delete pages or resources through the web. Head is basically a get request, but without the body. You're saying show me the headers that I would get if I did the get request for this URL. There's a concept of safe methods. So safe methods don't have any effect on information. When I talked about the post, it changes something. When you submit a form, it changes something on the server. A get is not that case. So the takeaway here is don't have your app change things when you do a get because when Google comes scraping your site, it's gonna do gets on your site. If your site changes something on the back end, you're gonna have a bad day. So just keep safety in mind. There's also something called item potency. That means that you can call the same thing multiple times. You can do a get to the Google front page multiple times. You'll get the same thing. Same thing with the head. Same thing with if you delete resource. The resource is gonna be gone if it was there or not. A put, you're actually saying replace something. If it's there or replace it, if it's not there or let it. So multiple times doesn't matter. The one that's missing from this list again is post. So if you post something multiple times, you'll end up with multiple copies of that thing. So request headers. We saw that we can provide those headers. These are some common headers. The host header is basically required. It says the name of the website we're accessing. And the reason that that was added is so you could host multiple websites on a single server. The accept header says, list the types that the browser would like to receive. So the browser may say that it likes to have HTTP. It likes to have JSON, but not list XML. So if the server knows how to do HTML and JSON, it will pick one of those, but it wouldn't pick XML unless it didn't know anything else. The weird thing about the accept headers, you can actually specify relative quality. Sometimes you'll see a queue number if you look at the accept header. And that says I prefer these types of things over the other things. The default quality setting is one, which means top priority. If you prefer JSON over XML, you could set its quality to 0.9 and XMLs to 0.8. The content length on a request header is the content of the body of the request that you're sending. And if you don't specify that, it actually just, it doesn't let you specify anything. Once you've uploaded the content length number of bytes in the body, the server will close the connection. The content type tells what you're uploading. Am I uploading some HTML? Am I uploading some XML? Am I uploading some JSON? The referrer is if you are a browser, it's the page you're on when you click the link. That is spelled incorrectly. But it's in the standards document, so that's what we use. The user agent is another name for a browser or a web client. It could be a web crawler, it could be various things. It's a string containing the information about the browser. And if you take a look at those, those get to be pretty crazy long, especially in Chrome and Firefox. They try to pretend. So back in the day, there was something called browser sniffing. The server would look at that string and try to determine, oh, I'm internet explorer, I'm gonna give you this copy of the page, and your Firefox, I'm gonna give you this copy of the page, which could be completely different. Google didn't like that because Google wants there to be one canonical version of every page that it indexes. It doesn't want you to fool it, so it sees one thing and then the user sees something else. So browser sniffing's not used too much anymore at all. But you end up with these really long strings that tell you sort of all the backwards compatibility that the browser tries to do. And we'll take a look at those headers in the exercises. Yeah, yes, yes. And then content type is only for a post or a put, and it's what type the body that you're sending up to the server is. Yeah. So authorization is for, if you ever go to a website and you get the pop-up box, authorization is basically that information you type into the username and password box. It's not encrypted, it is hashed and sent. And we're actually gonna, there's an exercise that we're actually gonna find that going across the wire. Except in coding, you can actually gzip things, the server can gzip. The content coming back to you, this basically says that's okay. You can say content encoding gzip comma deflate, that tells the server, hey, I can gzip this and save some bandwidth across the wire. Connection usually is for keep alive. It is the client saying, hey, I've made those requests, but when I'm done, I'm gonna make another request. So don't bother tearing down the TCP connection. I wanna reuse it for the next request. So if I'm getting a web page and I know it's probably gonna have some JavaScript, it's probably gonna have some CSS, it lets me get those all in one without dropping the connection. Cookie, so I talked about a cookie is the server has sent us this cookie and we are supposed to return that cookie back to it. And that maintains sessions with the server between the server and the client. And that's the only thing that maintains a session between the client and the server. And that header is limited to about 4K of information. So if we do our cookie based sessions in Rails, we do have to worry about that limit. You wanna store a whole lot in that cookie. All right, so we've made the request and the server responds with the HP response. That first line is called the status line. It's got the HP version. Interesting thing, you can actually make a request for one version and get a different version back. I find that a little odd. The 201 there is our status code. And then there's the description of the status code which is created in this case. And then like the request, the response actually also has headers. And then it has a body. Not every response has a body. There's a few that don't have to have a body. Created is actually one of those. So if you are doing a put or a post, it could actually just say create it and then don't give you anything back. But you probably wanna do a redirect. So you probably want some extra information in there maybe. So status codes. So the status codes have different meanings and they are actually standardized. Although occasionally you'll see some non-standard ones. The 100s are informational. You'll rarely see those. The 200s are what you'll see most of the time. Usually for a get, you're gonna get a 200. For a post or a put, you're probably gonna see a 201. Redirection, if you go to google.com, it'll actually redirect you to www.google.com. That's a redirect. I believe that would be a 301. If you send headers that are involved with caching, which we'll do in an exercise, you'll get a sometimes you'll get a not modified. And that says, hey, you've told me you already have a copy of this in your cache. So I'm just gonna give you the metadata and the headers. I'm not gonna give you the body. You should use the body that I gave you last time. So then we've got the error response codes. So 400s are client errors where the client made some sort of mistake. Unauthorized is if you have not sent an authenticate header and the web server requires you to authenticate, the client is supposed to retry with the authenticate header. And so before it does that, it pops the box up, has you type in your username and password, resins with that header. Forbidden means you've probably either you're not, you can't authenticate or you've authenticated, but you still don't have permissions because maybe you're not an administrator in the box. 404, we've all seen that one before, page not found. 407 is proxy authentication required. It's like a 401, except it's the non-transparent proxy that is asking for a username and password. That's pretty rare to see. We will do a little bit of proxies, but we're not gonna do any proxy authentication. 422 is unprocessable entity, which is a weird way of saying I don't understand what you're trying to ask me. That is recommended, that's what I would recommend, either 422 or 409 if you are making an API request and it doesn't have the right information that it needs in the JSON or XML or whatever that you sent. Server errors. So if your server crashes really badly, you'll see a 500 error. I believe you see that in Rails a lot of times when you're debugging. 502 and 504 are gateway errors. So if you've got a reverse proxy sitting in front of your servers and your servers have gone down or take too long to respond, you'll see a 502 or a 504. There are plenty of others. I ran into a 405 earlier. There's one of the April 1st RFCs called I'm a teapot response, a 418 code. Not sure when you'll need that. I'm sure someone has implemented it though. Response headers. So like a request, the response has headers. The content length will almost always be there because you'll have a response that has content in the body. The content type, it's the mine type, so it's gonna be like text slash HTML, text slash plain, application slash JSON, or is it image slash JPEG, image slash PNG? That tells the client what type of file this is and then it can handle that however it expects to. The content encoding is, I talked about accept encoding where you can GZIP it. The content encoding says that the body has been GZIPed. Notice that the body is GZIPed and the headers are actually still in plain text. Content disposition is a little trick that you use when you want to, when the person clicks on the link, you want them to download the file instead of have the file display in the browser. In that case, you would use content disposition header and you can also provide a default file name that the browser will try to save it as. Location. Location is used for redirecting and we'll have an exercise on that. Usually you wanna provide a response code that says redirect and then you provide the URL to redirect to in the location header. SetCookie, we talked about cookies for maintaining state, maintaining sessions. SetCookie tells the browser to remember this token and it's just roughly a random string of characters and when it gets sent back by the browser, the server knows to associate it with a session. It looks it up in the database. www.authenticate is basically telling the browser that to pop up the box or if they've already typed their username and password to provide that information to the server. All right, so we'll run into proxies. We'll have some exercises on proxies. So a proxy is something that acts in place of another. In the case of a HTTP proxy, a web proxy, it intercepts our HTTP requests. So it can modify that request. So what it does is it intercepts a request, modifies it probably, does some caching perhaps and sends it onto the server, gets the response back from the server, can modify it then again and then sends it back to the client. So it sits in between the client and the server and it can modify pretty much anything that it sees in there. So proxies are good for caching. You can add security. So I've actually, actually our exercises, we will add some SSL to our Rails app. So you do this to simplify so you don't have to have the Rails app understand SSL. Also can save some CPU time. Also can be used for load balancing. You can be used for authentication. I've had it where I had Apache in front of a application server and we added the pop-up authentication for it with Apache acting as a reverse proxy, which I'll talk about in a second. So there are transparent proxies. Basically you don't have to set anything up. It's inputted itself into the stream of the network and there's non-transparent proxies which a lot of times if you're at work and at a big company, you'll have to configure a browser to point at the proxy. That's a non-transparent proxy. And we've got an exercise on that. Reverse and forward proxies. So the proxy you have at work that sits sort of right next to the firewalls would be a forward proxy. A reverse proxy sits next to the server. So right near the servers, anything that's, any proxy that's added on the server end is a reverse proxy. And we will actually have exercises on both of those. A CDN is a content delivery network. It's basically a paid service that does proxying for caching purposes. So you can cache all your static content. Technical things in here I won't get too much into. Now one of the nice things that can provide you, protect you from distributed denial of services. If you've got a big site, you should probably be looking into these. Troubleshooting. Any network problem you have, you have to think about the OSI model. And I wish I had a picture of that. I forgot to put that on there. So you've basically got the physical layer, you've got the network layer, you've got the transport layer, which is TCP. And then you've got your applications sitting on that. So there's a lot of things that could go wrong. You could have a network cable pulled out. You could have, you know, your routers down or the server's not running. So all those different layers you have to think about when you have a problem. Troubleshooting is trying to figure out which layer it is. And then narrowing down on that. So one of the first tools is ping. Can I connect to the IP address that the server is on? The problem with that is sometimes the firewalls will prevent that, either firewall in your company or the firewall on the other end. Traceroute is similar, but it shows you all the hops in between. So maybe the network is down between your internet provider and Google. Traceroute might be able to help you find that out. Tell them that we're gonna use in our exercises. It's a good way to tell if the port is listening. And if I've got connectivity to the IP address, tell them that will tell me if the service is listening. And that's actually kind of where I start. I kind of start in the middle. And then if tell them that doesn't work, I'll try the lower layers. And if it doesn't work, I'll try the upper layers. If you're on your server and you wanna see if your service is listening, you can do a net stat on Linux that's dash PLA and T. It's easy, mnemonic for me to remember. On Mac, it doesn't have all those options. You'd use dash NA and then grab for listen. And then so that's gonna list over on the left side, it's gonna list all the IP addresses, which is usually gonna always be your IP address, and then colon in the port number. So if you're looking to see if Rails is running, look on the left side for something colon 3000. Just assuming you use the default port for Rails. Telnet doesn't work with HTVS because it's encrypted. So you have to use this tool that OpenSSL provides called sClient. And we've got an exercise on that. TCP dump, if you really wanna see all the details on what's going across the wire, it'll tell you everything. We've got a short exercise on that. There's so much information we could probably spend a couple hours on that. Wireshark is a good way to visually see what's going on. You can actually take the output of TCP dump, save it to a file, pull it into Wireshark. Wireshark has a nice feature. TCP dump shows you each individual packet and they're disjoint. When you're having communication between a client and a server, your packets can only be so big. So the communication will be broken up into pieces. Wireshark has a nice feature to put all those back together, which is kinda cool. All right, so as I said, HTV2 was recently approved and ratified. It came out of a project at Google called Speedy, SPDY, apparently they wanted to make it Speedy to say, to write the word Speedy. So as I said, we can compress, we can GZIP the body, but we can't, in HTV 1.1, we can't compress the headers. HPAC is a part of HTV2 that allows header compression. Another thing, the standard doesn't require it, but every HTV2 implementation out there requires TLS and that's probably because it's got TLS or SSL has a protocol negotiation built into it and that protocol negotiation can say, hey, do you have HTV2? I'd like to use that. Do you have Speedy 3? I'd like to use that, but if not, fall back to HTV1. So I said that HTV is all text. HTV2, that turns out not to be the case because we're compressing the headers. It has the same semantics. You won't be able to use Telnet, you won't be able to use TCP dump, but you will be able to use some of the other tools that we'll be looking at today. I did get an example to work with HTV2 that we can do as an exercise. When you're making a lot of small requests, like let's say you've got a lot of icons on your page, ideally you would just get each icon individually, but those icons are only 25K or something. At that point, the headers at a couple K are starting to become large overhead. And if we could compress those down to a couple dozen bytes, would save a lot of bandwidth. And there's some other features in HTV2 we'll get to in a sec, basically just to save bandwidth. The other thing about HTV2 is it multiplexes the connections. You can actually have multiple files coming across at the same time with a single TCP connection. Right now your browser has to make multiple TCP connections. I don't know what the browsers are up to. They started it like four at a time, they got up to eight at a time. But that means you've got, the TCP connection takes up resources and it takes time to set up. So if you could do just one TCP connection that would save some time. That's one thing they've done. So you can grab your HTML file and you can actually start processing and see, hey, I've got some JavaScript, I got some images, I've got some CSS, I need to grab all those too. So I can grab all those simultaneously. So that's gonna save a lot of time. Server push, the server can actually know, hey, he's getting this HTML file, he needs a CSS file too. I'm gonna start giving it to him even if he didn't ask for it. And the client can say, well, I'll take that. Hey, I finished with the HTML file. I didn't need that CSS file. You can stop giving them that to me. Which is kind of weird with caching. I don't know how it knows what's been cached and what doesn't, but the possibility is there to save some time. So when we do web design and web development, we've got the asset pipeline, right? And that combines all our JavaScript files into one big file. It combines the CSS. We probably combined that into one file.  And then the CSS has to go grab each piece to put each icon on there. If you look at the, I know I've looked at the homepage for Yahoo. And it's got all the icons on the left. Those are all in one file.  HTTP2 will hopefully allow us to stop doing that. We can just write it the way that it should have been written in the first place. Not worry about performance. HTTP2 should do that for us. HTTP2 is kind of weird that it starts with a 1.1 connection and then it upgrades. The semantics of that are pretty crazy. You probably don't want to get involved in that. We'll see a little bit about that in the verbosity of the tools we use. We'll show you a little bit of that. So where is HTTP2 working? Chrome 41 has it. Firefox 36. IE 11, but only in Windows 10. So nobody has that yet except in beta. Nginx says they're gonna support it by the end of 2015. They already support speedy 3.1, which is pretty darn close. I could not get Curl to work with Nginx using speedy or HTTP2. So Curl 4, right now you have to specify the HTTP2 flag, and for this, I had to manually compile that feature in. Wireshark 2 will have it. They're currently in the beta series 1.99. Patches doesn't seem to have plans, which seems a little weird, but it does have mod speedy available. All right, so it's time for the exercises. I need to update that URL real quick, but Charlie will be walking around helping people get started. The exercises are basically starting on page 27 of this, and so the first step is basically add the vagrant box with that command there. Do a vagrant up, and then a vagrant SSH. You'll be in the box, and then you can move on to slide 28. Will Rails support HTTP2? Probably not for a long time. So Rails really doesn't even support HTTP. Your Unicorn or your Puma are what supports that. So when those support HTTP2, we will have it built into Rails. Rails itself sort of sits right behind that. Right now, if you want it, you would put a proxy in front. You would put InginX, is my recommendation. In fact, InginX said they have 95% of the, well, it was speedy at the time. Server's on the internet. So you would use a reverse proxy. Well, Rails also doesn't support HTVS, so you probably want HTVS on your site, so you probably need that proxy anyway. Another question? Oh, the link? You should see this version without the vagrant init. If you did the vagrant init, you'll need to get the vagrant file back. And I think you'll need to do vagrant box remove. But raise your hand if you did the init and we'll help you out. So once you guys get into vagrant with the vagrant SSH, just work through the slides. Raise your hands if you have any questions and we'll come around to help. You can go to the slides next slide. It's not. Yeah, second time I tried this. I tried to bring the demo, but it just hangs on the slide. It's actually really something I'm not used to. I need to. Oh. That's like, turn off. I did that too. Yeah, yeah, yeah. So I ignored that. I was just trying to research that. Um, that is something that's, I don't know if I should. Well, I just know that the gross, I also have a nice, right? It's not, it's not, it's not, it's not, it's not. It's not, it's not, it's not, it's not, it's not. Can you work under your vagrant file? It's kind of, that's, it's a long text, so it's not, it's not, it's not. It's not, it's not, it's not, it's not. It should be very close enough that you can create a great partial work that is actually out. Oh. So it's pretty general, you should know. Maybe it works to try to install the first text, you know, the virtual box that's on here. I guess that's the one that I guess it was made for, I'll just talk to you. It's in the virtual box for free. Oh, okay. It's in the virtual box for free. It's in the virtual box for free. It's in the virtual box for free. It was that, it was great. Okay. So that is how you go get the virtual box, yeah, to the virtual box. Thank you. Okay, thanks, Alex. You're welcome. Okay, thanks, Connor. Oh yeah, I think it's the deal, we're just saying for you to get higher. All right. Okay, that's fine. This is the expectation of the place where I'm going to put my hand, because it's a little bit difficult, but yeah, so, um, open up for the thoughts, and like, you know, come on, sure. Oh, yeah, I've got one. And then like, right with the thumb, that's how I'm going to say it. The thoughts won't do it. Um, think thoughts won't do it. Yeah, whatever. And now these solids, like, all right, cool, thank you. Thank you. Okay, next one. That should be like the next slide. Yeah, there's no, nothing wrong with pretty much anything. I think the next thing we're going to do is start on the end. Yeah, we're going to have to make sure. Definitely. Okay. Yeah, excuse a little bit.  I'm going to have to get a cigarette. I'm going to have to get a cigarette. Because, uh, Yeah. So, we're in the first one. What? We're in the first one. It's tall. It's tall in the first one. No, it's not. It's not. It held 992. Yeah. I didn't want to. I just want to. Yeah. Yes. I think you have to look up there. Of course I'm missing. You're like, yeah. I didn't hear about that. I did. I did that yesterday. I have a lot of things like that. I think I just talked to someone. Where am I? Can't we just sit down? OK. OK. Thank you. Thank you. Thank you. Like inside of you? Hey, folks, for the HV1.0 and 1.1, make sure you enter the blank line when you're using Telnet. If you don't do the blank line, I'll just sit there waiting for you. Yeah. Local slide. From like the right around the start? Yeah. A lot of response from... They should be able to do... I don't remember. Can you tell them that? I think it was the blank line. I think it was the blank line. It was the blank line. Yeah, thank you. Come on. Good. Yeah. I'll go over it. I actually don't know how. Do we have some running backwards? Yeah. Oh, I don't know. Yeah. OK. So I'm coming from another business. Send the... It's all this stuff. Do I need to... This is like press enter now? No. OK. OK. There we go. We did it. Thank you. You can do three more things like this. OK.  You can finish this at your leisure.


He didn't get in hot waters because of his doping right because everybody was doping and if you know anything about Cycling especially that time and the time before that well documented. It's been well documented from like cocaine in the 50s Right, right even before that taking trains in the 30s. Yeah, right and so like that's been part of this great work So that's not why you know others doped they're on TV They're having great careers. So that's not why it's the destruction of the Nile That and the aftermath of that that really caused him to fall out of grace that being said He is still the best of all times because that guy did more for cancer research and Cure and possible future cures and drug development than any single human in the world


I didn't know DLC, I didn't know any of that stuff till I started to watch straight out of Compton. I'm like, oh, okay. And of course, he's mentioned DLC before. This is the end. But that's the only time I knew about the story of DLC. That's it. I had to check a couple of them on here about DLC, man, Rainwater. DLC, and now I gotta get, I quote, the DLC came to him before he left to go to California. I can't tell you one DLC song. Formula, nigga, you young, you don't know formula? High energy, full with the wisdom, sense of a rich man, knowledge and the rhythm. We on Boss Talk 101. Today we got a guest, man. I've been really to be honest with you. This the one that mean a lot to me, man.  When I met him, man, I was so, he was so humble. But that messed me up because you meet so many people and you don't know how they're gonna be when you meet them. This guy right here, man, is a legend. A icon to me, man.  You know what I'm saying? I'm gonna be honest with you. That's why I did my dance routine. Me and my cubs of money, Mike, you remember?  Because that's where I was at with my man. My guy, DLC is an ability. Hey, man, thank you so much, man, for coming through Boss Talk 101. The funny thing is that being from Jamaica, and I've only been here now, what, 20 years? Yeah, 20 years. So it's a case where I didn't know DLC. I didn't know any of that stuff till I started to watch Straight Outta Compton. And I'm like, oh, okay. And of course, he's mentioned DLC before. Listen, man. But that's the only time I knew about the story of DLC. That's it. I had to check a couple up on here about DLC, man. Rainwater, DLC, and I got to get, I quote, the DLC came to him before he left to go to California. I can't tell you one DLC song. Formula, nigga, you young, you don't know formula? High energy, full with the wisdom, sense of a rich man, knowledge and the rhythm. This is what I'm using to come up with a style. That's what I'm saying. Dallas don't get behind their rappers. They should be playing it. They don't play it on the radio. That was a big song. If you got a user, they go play it. They playin' Beyoncé, old stuff. They playin' all the old folks. If you got a Kiki, old stuff, sound. The old music, they playin' it. I can't tell you one DLC song. But why they don't play it though, right? I don't know. That's why I'm tryin' to figure out. We need everybody to collect them, understand that? You better go listen to it. If you don't know it, you need to get to know it. I'm like, man, you can't come in and say nothing. You got to say doc in here because we got some legends in the city. Even L.D.,  But the reality of it is Dallas don't have hip-hop infrastructure. It is- I don't know if I agree with that. Dallas got hip-hop infrastructure. You got some guys here that done made numbers, that done did. You got some platinum artists here in this city. You got D'Roll. You got different people that done did. You got DOC here. You can't say that we don't have a foundation.  You know what I'm sayin'? You got some patriarchs here, man. You got some people that got them- Do you not know that I'm well-loved in Dallas? That's why you tryin' to do that? I didn't say that. I'm all right. I feel like you tryin' to create a- Yeah, I'm all right. Look at you. You tryin' to go over there. But when you look at it, you just think about it. You tryin' to make an adversarial thing. When you look at it and you look at some of the artists that we've interviewed here that have those accompanies, it's not many. You write about that. Dallas is not as big as Houston either, to be honest with you. But I wanna know, so where did the name DOC come from? Because I see your initials of your name and that's like, I'm like, no, that's not it. So where did DOC come from? What is that? Well, I was DOCT as a young guy. Okay. That's my first original rap name. It's DOCT. Okay. Yeah. So you just dropped the T off. Yeah. Yeah, pretty much. And cause there was NWA, I just put the periods in mind, too. Right. Oh, okay, that's dope. So how did you end up? Okay, so growing up, you were born and raised here in Dallas. And you end up all the way over there. How did that happen? And when did you wanna start rapping? How old were you? What was your environment like? All of that, Juice. I mean... What part of Dallas were you from? West Dallas. West Dallas. Shout out to Charles Rambo, my cousin, and all them Rambo's. I'm not playing no games. Y'all already know. Shout out to everybody that rocked with E over in West Dallas. No, I go crazy. You know what I'm saying? Who did we interview in LA that surprised you and said that he was... That was that boy. That boy, I call him Hutch. Above the law. But what was it? Yeah. 187 or something, I found out. But it's Hutch, though. Roofless records, NWA, EZE, Above the Law, so on and so on. Cocaine, the DLC. I came from when they first developed Roofless Records. Yeah, but... You know, and all that. Yeah, y'all slid on us, because you came from West Dallas.  I remember, man, I hate to go to work. Dr. Rock and all that. Feel a fresh crew. Feel a fresh crew, yeah. That's kinda how you guys end up linking with him, right? That's right, yeah. It was at a mall. They performed a feel a fresh crew. Fresh crew. They performed at a mall, and they like Docs. Yeah. Yeah, Big Doc and Ticky. Yeah, but the boy still held on to the Dallas Cowboy jersey. Oh, yeah, you know, we don't do that anyway. Right, yeah. Yeah, we were shocked when he mentioned that he was from West Dallas. We didn't even know. Y'all went crazy by the DLC on that one. You see what I'm saying? No, man. I'm a fan, bro. Yeah, man. I'm older. I remember when Hip-Hop came on the scene. I get to play the fan role. He is the artist, y'all. Yeah, we on Boss Talk 101. Yeah, we going top.


Simona Biles made a fearless return to competition on Tuesday, capping into motion's Tokyo games with a bronze medal on the balance beam and then using the Olympic stage to remind everyone that athletes are human beings. The final gold of the women's artistic gymnastics program would go to China's Guan Cheng Chen with a score of 14.633 and a silver to her co-patron Tang Xinxing but it was Biles who grabbed the spotlight for her courageous comeback. While still dealing with the traumatic events of the past week, Biles did not fall large returning to the Olympic stage in three years for the 2024 Paris games. Yes, I'm pretty happy. I wasn't expecting to medal. I just came out here and just tried to do a good beam set. I switched my dismount last minute because of everything going on but to have these two next to me I'm a thated absolutely amazing and I watched them train so hard so they are definitely deserving of one and two and so just to have one more opportunity to compete at the Olympics meant the world to me. So I had to be medically evaluated every day and then I had two sessions with a sport psychologist from Team USA but I've been training beam every day. We just last minute decided to switch the dismount which I probably have not done since I was like 12 years old because I've always twisted off and done a full in since I was probably 13 or 14 but on the beam that work is easy I've always been able to do is just coming off we didn't know what we were going to do or compete in the final because I had to pull out of all the other finals because of that reason. Yeah well to bring the topic of mental health I think it should be talked about a lot more especially with athletes because I know some of us are going through the same things and we're always told to push through it but we're all a little bit older now and we could kind of speak for ourselves but at the end of the day we're not just entertainment we're humans and there are things going on behind the scenes that we're also trying to juggle with as well on top of sports um so yeah hello hope you enjoyed the news please do subscribe to our youtube channel and don't forget to hit the notification button so you get notified about fresh news updates


Hello friends and how are you all doing today? The question says an insurance company insured 2,000 scooter drivers 4,000 car drivers and 6,000 truck drivers. The probability of a scooter car at a truck meeting an accident are 0.01, 0.13 and 0.15 respectively. Here if one of the insured person needs with an accident we need to find the probability that he is a scooter driver. So after reading this question we can see that this is a question relating to base theory So let us proceed with the solution for that Here let E1 3 be the events of selecting scooter a driver respectively be the event of meeting right now have probability of E1 that is a scooter driver is given to us as 2000 probability of E2 that is car drivers are given to us as 4,000 and probability of E3 that is a truck driver given to us as 6,000. Further probability that an accident sorry scooter driver meets with an accident is 0.01 that is 1 upon 100 probability of E upon E2 is equal to 3 upon 100 and probability of E upon E3 is 15 upon 100 right we need to find out probability of that a scooter driver meets with an accident right so we have probability of E1 upon A equal to probability of E1 into probability of A in upon E 1 divided by probability of E1 into probability of A upon E1 plus probability of E2 into probability of A upon E2 plus probability of E3 into probability of A upon E3 3 now on substituting the values we have 2000 into 1 upon 100 divided by 2000 into 1 upon 100 plus 4,000 into 3 upon 100 plus 6,000 into 15 upon 100 on simplifying it we have 20 upon 1 divided by 20 plus 1 20 plus 900 which further gives us 20 upon 20 plus 1 20 140 so we have 1 0 4 0 over here on simplifying it further We have the answer as 1 upon 52 so 1 upon 52 is The probability that the person meeting with an accident is a scooter driver Right, so this completes the session. Hope you understood it well. I enjoyed it too. Have a nice day ahead