Hei, er ffobr yn cael ei fod cyfnod a gweithio i gweithio ar gyfer cymdeithasol er gweithio i Neil Mulholland. Felly, am Llu Mikroff, rydyn ni'n gweithio'r seisio. Felly yn rhoi, Neil, y tifol ydy'r ysgriff ar y Gloriad. Rydyn ni'n gweithio'n gweithio'n gwisio ac mae'n gweithio'n gweithio. Rydyn ni'n gweithio'n gweithio'n gwisio'n gweithio'n gweithio ar gyfer cymdeithasol. Ond Neil yw y profiad Neil Mulholland, y Chyfnod Llywodraeth Cwntempryd Arffentlachol i'r Fyglwyr ar y Ffyrdd ym Mhwylwyr Edinbrwyll, yw ymdyn nhw'n gwybod yn ymddangos ar y cyfnod hynny. Felly, rydyn ni'n ddod i'n gweithio i chi'n gwybod ni'n gwybod. Yn ymdyn ni'n gweithio i chi'n ddwylo'r ymwiyng Nurell, bydd rôl 10 fewn ni gynny universellau, rydyn ni'n gweithio i'w gwybod at y cyfnod yma. Fon i'n gwneud o'r ymddangosRYt a gwahanol ymddangos. Yn ymddangos ymdyn nhw lawer, ymddangos ymddangos ymddangos ar y cyfnod, ymddangos ymddangos ymddangos ymddangosẹt, mae nody kalywedd yr adrod yma. Rydyn ni wedi bod yn cyfnod ymddangos staff Gerdd, Amber Lane, Jake Watts, a Gael i'n gaelwch i'r anod, felly rwy'n ei wneud o'r fynllun. Rydyn ni'n rwy'n wedi'u'n gwneud o hyn o phobl hwnnw. Wrth gwrs, rydyn ni'n gweithio'n meddwl i chi, ond rydyn ni'n gweithio'n meddwl i chi i'n gweithio'n meddwl. Gweithi. Wath i'n gweithio'n meddwl. Rydyn ni'n golygu am ymddangos yw a'r cyffredinol sy'n fath o'r sefydliad o'i ffordd o'i ddiweddod. Rgyf i'n meddwl o'r gerddur â gael bydd angen eich bod yn arsblodio'r byth. Ym wyth i'r gael ar gyfer eraill lleol yn unig o ddweud y bydd yma, mae'r gael iawn o sut i'r ffach, mae'r ddweud y gweithliadau organizaidd, mae'r ddweud yw phobl a'r ffawr argyffortau mewn yr unes yn yr Ffair Cyfrifol o'i pwlethau hon. Ym maen nhw'n hwlau'r canwys a o flodol yn y portio'r ffordd o'r mwyn. yng Nghaeth Gwyl, mae'r argymdeithasol yn bwysig ac yn wych. Mae yw'r cyfrifig ar gyfer gyrch, felly mae'n gweld ar y gwaith gweithio gweithio gweithreitio o ffordd a gweithio ar gyfer gweithreitio gweithreitio. Yr argymdeithasol yn gweithreitio gweithreitio gyda'i cyfrifigio cyfrifigio gweithreitio, ac mae'r gwybodaeth o ffrigigur mewn cyfnwyr o'r amser yn gwybod yr arbyn hefyd ar gyfer ar gyfer gweithreitio geithig. i'r gael, oherwydd mae gennym hanfodd ac yn 50% o arferwyr wedi'i gael ei wneud. Yn oes gael i gael ei ddwyfodol ar y ddweud yma, mae'n meddwl i'r ddechrau'r ffórmol ar y ddweud teimlo, mae'n ddweud eu ddweud ar gyfer y studio, mae'r ddweud ei fod yn hynod o ffórmol. A wedi'u ddechrau, mae'r penderfyniadau cyd-dweud, have been relatively few virtual communities of artistic learners. So how might contemporary artistic learning be reimagined in light of the open paradigm, Paragogy and Paraa academia? How could open and Para approaches help to catalyze the artworkers recovery? So to partly address these issues I'm going to reflect on this new course that I taught in collaboration with my colleagues in the art and learning research group, Jake Watts, Emma Bulkind a Beth Dynnowsky. Y cwrs contemporary art yn open learning was designed to enable colleagues and art students to open access to artistic learning by peer producing, codifying and sharing their own learning practices. Although the course was composed back in 2018, by the time it ran in September 2020, Scotland was in lockdown. This presented a welcome opportunity to refashion the course as a digital OER. Using a can ban, we created an agile process for curriculum design and our OER was rapidly swarmed on notion and made available via our WordPress for play testing. Our OER enables anyone to practice a range of peer based learning theories by practicing the paragogics pioneered in 2011 by the mathematician Joe Carmelli. Paragogics' focus on making tacit knowledge explicit makes it particularly conducive to teaching art. Now the OER is split into two components, the first being play to learn which focuses on do it together and peer to peer and the second the art and learning fair which is really about composing and reflecting and reproducing. Now I'm going to start with play to learn. Paragogics is leaderless and has no distinct roles so everyone is a learner or a paragog. Because of this staff had to join one of four distinct groups of formal learners, each group began by establishing their covenant using a nishida inspired method called build a basho wherein they define and limit the parameters of their unique paragogics. In the absence of a studio this covenant became the playing and making environment. Having self socialized as learners each group then engaged with foundational concepts such as do it together, peer to peer, bife wide learning, the open paradigm and crucially the educational term in contemporary art practice. These groups learned playfully by collectively completing weekly art assignments that we hosted on our WordPress. So for example one assignment involved hacking counseling methods to arrive at an insight oriented form of coaching which centered on ulteriority rather than self-awareness and this provided insight into what we already know and into how we can support each other's learning. Completing the circle of this aurebolic crit enabled each group to become a peer to peer learning exchange. Art assignments then were metacognitive participating in them helped groups to devise test and run their own art assignments. Paragogs play tested. We experienced what worked in disparate learning environments and gained a sense into how our diverse life experiences led us to respond differently to stimuli. So the educational rationale for each of the assignments was supported by the OER which relayed open learning resources that scaffolded this peer to peer learning. These open resources were only engaged following completion of each of the art assignments. Group peer review of the resources was swarmed as a form of open marginalia so we used open web annotation and notion to capture this asynchronously before we met for our weekly stand-ups. So crucially, paragogs acted first and then they critically reflected on action as collective inquiry thinking through the different lenses hosted by the OER. So the second part of this course structure was always intended to support paragogs to run their own workshops as part of a not-for-profit art and open learning fair which would be hosted in a public space in Edinburgh. We adapted this brief so that paragogs would generate an OER that would facilitate or prompt an artistic workshop. This way we were able to fork our staff-divised OER resources into four new peer-run OERs. Thus the co-learning of paragogs would snowball into a public resource that can be exponentially repurposed. The common point of inquiry all groups chose to work with here was the flux of stardust Joseph Boyce's 1978 provocation Yeather Mench in Kunstler or Can Anyone Be an Artist as we repurposed it. Rooted in Boyce's Edinburgh Poor House Action Objects from 1974 has free international university and has worked with the prisoner Jimmy Boyle in Scotland. This provocation seemed prescient of the emancipatory potential of open creation Paragogy and to do it together art schools movement of the 21st century. Acting as collectivised researchers, four groups composed different workshops that modded Boyce's provocation. Using a can band to visualise workflow and limit work in progress each group aspired to honour David Cowell's open education design principles of design for access, agency, participation and experience. The groups took it in turns to play test each other's workshops and then give constructive feedback and support informed by Cowell's principles. Catholising the art world's recovery I think will require engaging a broader constituency of participants. Following the philosopher Paul Bushiers I want to consider now how artists can foster the creation of open research objects that will create new publics that result from the circulation of these objects. Like studio based learning OERs produce subjectivity they socialise learners and generate different publics. So rather than fixate on questions of content and purpose my own reflective analysis here has focused on relationships. The main participants in the open art fair were the co-staff and students and international members of the shift work network. While this was a large pool each workshop was relatively small, limited to just 40 participants. Nevertheless our OER is a truly open curricula and it allows for full freedom of modification and in this sense I would say artistic OERs are akin to Joseph Boyce's action object that is their catalysts for holistic relational learning. So while the Edinburgh course was running my colleague Bethanowski versioned it with her HNC Contemporary Art Practice students over in Glasgow Clyde College. The artist Didjani Banergy had been remixing the OER simultaneously when teaching local primary five children at Edinburgh sculpture workshop which is I should say is the project's non-academic partner. Another mod of the OER is currently being hosted by the Canadian curator Nevin Lochhead and his dark matter playgroup an artist collective who run a gallery in Kingston Ontario. The Canadian mod which focuses on informal learning is called fabricating vibe. The OER's creative commons license encourages such mods and derive forks to be distributed under the same terms as the original. Every time the OER is versioned it grows branches hybridized workshops in the form of more OER's which in turn are versioned. Such looping reverberation has quickly grown an evolving repository of open workshop distributions. Now I see this as a fermentation process and my role here then is to germinate the most lively cultures in my own future course iterations. The VLE thus becomes a host for what I would call a scoop, a symbiotic colony of OER's and people. This way quality enhancement is psychobiotic so as far as I know then to date the OER is being adapted by educators, informal, formal and life-wide learners in both art organizations and educational institutions. Adoptors and modders are close-knit communities of interest but they form part of a bigger network and this harbors potential for such artistic learning to become collective artistic research something closer to Deleuze's new image of thought than to open textbook publishing. Ethical relationships that are established through communities of interest are frequently the bedrock of self-identifying cohorts of artistic peer learners. Interpersonal care and a sense of trust can slowly build a basho that is support for a shared community of practice so in doing do it together initiatives nurturing social relationships very often proceeds and even counters any desire to codify such relationships through organizing or collectivising for such purposes. The OER's support for informal learning I think fits perfectly with arts post-rationalist ethics of care. The way that is in which artistic knowledge creation as a relational practice is continuously modified through doing it together so as action objects artistic OERs offer a great opportunity to create new publics for contemporary art by commoning making and being. The OER emphasis on action-based authentic life-wide and performative learning makes it particularly conducive to scaffolding the acquisition of artistic practice. Thus while currently rewriting our BFAR program in Edinburgh we have sought to actively embody open educational principles throughout the new curriculum. Now thanks to lockdown we're not alone in this for example this spring I'm enrolled in Luca's blend and bleed program which is a series of online workshops on performance pervasive play and trans reality and so far I've taken part in workshops on art larping, high mind training and conspiracy theory composition. The practice here again comes first and reflection on action is later supported by a discord-based critique on bleed fabulation game theory and play theory. It's taken part in these kind of artistic workshops it makes it evident just how easily they can be repurposed for non-artistic fields for example our own workshop Make Gold functions brilliantly as a heuristic tool for co-investigating any value chain. Another the aureborec crit is a very effective life-wide learning exchange technique and composing conspiracy theories is a brilliant way in which to understand evidence-based research. So here in artistic research methods become interoperable methods of learning by doing offering themselves up to other fields of collective inquiry and in conclusion then I'd say that embracing the open paradigm's vision of education as a human right could better equip formal art educational organisations to fulfil UNESCO's right to participate in cultural life. However we must remember that cultural life is fermented formally and informally working together OERs and people can catalyse the recovery for forming symbiotic colonies of artistic learning and thus build new art worlds. Okay that's me. That was I feel like my head is bulging but I'm taking the most parts of different directions. My own practice is very rhizomatic so there were loads of you know new concepts but a lot of sort of relatable stuff in there for me which was absolutely brilliant. I'm waiting for the audience to kick in we've got five minutes for questions but I want to tell a couple of things that just really resonated for me Neil. That idea of ethical relationships the whole sort of holistic practice and I was particularly interested in you said interoperable methods of learning until you know my research is all about not making the invisible visible but making visible boundaries invisible if that makes sense. So look to actually see you know the undercommons of what's there I'm really sort of and so I love that idea you talked about symbiotic OER cultures and the art continually modified by doing it together. It's a real community approach isn't it? Yeah and it's um it's the really that that is the basis of the project so the you know the pandemic has come along it's kind of been opportun but the what we were really trying to build was an analog OER so it takes you know it functions in a physical space and usually we'd use a studio or we would you know we visit different galleries and work in their studios but it's um I think it's the symbiosis is is crucially important as a a soft challenge to how art education is normally practised it's usually very individualistic and it's all about nurturing individuals and their development so it's it's quite closed rather than socialised in this way. Yeah no brilliant. Neil is asking how did the students react to this change from the studio to online? I mean this was happening in a really sort of frightening and dislocating time of course. Well I mean we were we were going to not use the studio I mean that was a key idea this course was that it would not be based in a studio but rather we would make use of other learning spaces so we would initially engage with the Edinburgh Sculpture Workshop that have a court and open an outdoor space where they make or fabricate stone based works and metal work that you can't do inside and the Edinburgh Sculpture Workshop has got a really active public education programme as well so they're engaged with all sorts of different communities in and beyond Edinburgh so the whole point of the course was to open out physically and get out of our art school building not not be located there at all so it going online was actually in some ways really helpful I mean the other thing of course which was unusual I think is like half the students were in China when we started it we couldn't get here so we had to make use of the cities that they were in as well as where we were if we were in the you know if we're in Scotland we were not all in Edinburgh with different bits of so everyone was in a different environment because of lockdown but the students in China were kind of freer to go out and use their local amenities and environments as well so that helped explode the geography of what would otherwise have been you know a kind of more limited terrain I think we would have used had it been offline yeah it's fascinating yeah Christina Rans is asking any other advantages anything I mean I'm adding to that really by saying anything that surprised you the other advantages I think was you know like we did a lot of like translation work partly again because this sort of Chinese European split in terms of the time that we were working through and so we also had to use a mix of synchronous and asynchronous to handle the the different time zones as well but I think the key advantage was that the students really kind of took to use in a lot of the open annotation techniques and swarming became really important so each group really swarmed everything that they did they would either split things up and say well we'll read this book together it has 12 chapters you know we'll take on two each and then report back or they would you know they would divide quite naturally sort of divide up their labour if they decided they had to work on something and all those digital swarming tools were really brilliant for that and we you know we managed to stick to using ones that were open rather than what the university would provide it is with so I think learning to use open tools and and see how you can get access to some of those tools for free and and be you know quite thrifty I think was quite important I found that was an advantage that rather than the students feeling that they had to get getting access to expensive workshop equipment and studio space in order to be creative and yeah totally love that you know get beyond the university prescribed stuff because my background is further education in England that's quite hard for people to be allowed to use this beyond microsoft teams or whatever so I love I love hearing that listen we've run out of time which I can't answer there's a fabulous question from Max Mammoud Warday which which I think would run a little bit so perhaps Max would ask that over on the discord yeah but Neil that's been fantastic I wish we'd had two hours thanks so all right cheers Lou thanks a lot yeah bye see you later I'm not


Greetings. Today I'd like to talk a little bit about a feature within ReconNG that I find very, very interesting, at times entertaining and also at times pretty scary. And that is the feature set of pushpins, the location to pushpins modules or the integration of the tool formally known as pushpin. So some quick background information on this. It was originally an idea that was created by John Strand a couple years back. And then a POC was originally written by Ethan Robish that essentially took geotagged data from different resources and then plotted them on a map so that you could conduct an analysis of where these pieces of data were created. So this is kind of interesting. The POC was caught a little bit of attention and John pretty much came to me and said, hey, I want you to perfect this. So I created the pushpin script out of it and then eventually migrated that into ReconNG and that's what we're going to cover today. But basically this is all made possible because of something called geotagging. So what is geotagging? Well, very quickly, geotagging is when a piece of media is created by a device that is capable of determining its own location. It will tag that particular piece of media with that location, with the location of when it was created within that media's metadata. And then what happens is when you tweet or when you take a picture and upload it somewhere or a video or whatnot, that metadata, that location, that geotag gets sent to the resource or to that third party resource with your piece of media. And what a lot of these resources do is they will strip out that location data, that geotag, and they will actually store it in the database with the other information about that particular media and make it searchable through a web interface, through an API, or any number of locations. So basically what Pushpin does is it says, hey, here's all these different resources that actually make their information searchable by geotags. And so what we've done is we've tapped into these APIs. We've written parsers to scrape the web pages so that we can go out, search according to location, and then bring back and map all of this media on a map for you so that you can kind of see where these things came about. So it's got to obviously have some nefarious use cases. It's very stalker-ish if it's the first time you've ever been exposed to it. However, that's not the reason why it was built. There was two purposes why it was built. Number one was to introduce the possibility that we may be able to conduct some physical reconnaissance or some level of physical reconnaissance whatever we're actually having to be on the ground at the particular location. The second purpose for this was to build associations through geographical relationships. So two individuals say you've got a person outside, you've got a person that's tweeting in the parking lot of the National Security Agency, something along the lines of, well, going to work today. Well, you now have identified that that person is probably an employee of the National Security Agency. So it allows us to begin to build associations based on these geographical relationships between the pieces of media. So today we're going to demo this functionality, and I want to cover a couple different modules in ReconNG that do this. But the first thing we need is the location of a target. Well, let's go out here. Let's say we're going to target the NSA today. So let's go to Google and ask it for NSA's address. So address, National Security Agency, and Google is nice enough to give it to us right on this really big banner at the top of the screen. So let's go ahead and copy that. Let's come back here, and let's actually select our NSA workspace. There we go. And now let's, if we've looked at the locations table before in the last video, if we look at the locations table, I actually show schema. Come up here, look at the locations table. You'll see that the street address is a column within the locations table. So that's a piece of data that we can use as input for a module. So let's take that street address we have, and let's add it. So remember the add command, add locations. We'll go past latitude, past latitude, paste in the address, and hit enter. And now we have a street address. So how do we get the latitude and longitude from this? Well, let's load a geocode module. So I've got a couple of geocode modules in here. The first one is just geocode. The other one's reverse geocode. So what geocode does is it takes an address and it turns it into latitude and longitude. Reverse geocode takes latitude and longitude and turns it into an address. So we have an address. So let's go ahead and use this module right here. It's our standard geocode module. And let's run it. Well, first I'll show you the options. Not much going on there. We run it, and it brings back and gives us our latitude and our longitude. So now what can we do with this latitude and longitude? We now have a location. And if we do a search for things that start with location, actually, dash has got to be on the other side, right? We'll see that you have these geocode modules, but then you also have all of these pushpin modules. And this is what we're going to cover today. So we have these pushpin modules, and these are essentially the resources that are parsing out that geotag data and making their content, so to speak, searchable according to that particular data. So that's exactly what we're going to do. We're going to search each one of these resources according to the location that we harvested, and then we're going to pull down those pieces of media that are associated with that. So let's go ahead and start loading some of these up. We'll load Flickr first. And just to kind of show you an option, most of them look the same. Most of them have just a radius option and then a source option. Obviously, the default for the source is going to be the latitude and longitude from the locations table, but you could pass it in a list or you could give it a single location. There's a couple of different ways to do it. However, here we're going to use the database. The radius of one is final. Let's just go ahead and run it. We see it shows us the location and it goes out and starts collecting photos from Flickr based on that location. Next, we'll load Pekasa. And we'll run it. I'll get some of those. We'll load Shodan. And we'll see there's more than one Shodan once, so let's go ahead and use our smart load features. And we'll run this. Now, Shodan is going to time out. You typically have to extend the time out for up to about 60 seconds for this to work. I talked to the developer of Shodan API and he said the Geo Searches take a good bit of time to actually go through and conduct. And so you will need to extend the time out to actually get information back from it. Now, we'll see here that the request is going to time out. But the bottom line is it's doing the same thing there. It's going out and just grabbing Geo Tagged services and systems that Shodan is aware of. So we'll go ahead and just cancel that out at timed out for us. Next is we've got Twitter. So load recon. Pushpin. Twitter is a couple of Twitter modules. So make sure I've got the right one. We'll run it. And we see we've got some new ones there. And what's the final one? YouTube. Load. YouTube. We'll run it. And we'll get it. Okay. So now if we go to Show Dashboard here, we can see we've got our summary. The one location we put in there and then we've harvested 647 pushpins associated with the one location that's in our locations table. Okay, so this is good information. Now let's see what some of these pushpins are. Oh, my goodness. This is a terrible way to view this data, right? This data looks practically unusable in an ASCII table form. We've got to have a better way to see this and this is where the pushpin reporting comes in. So here we load a reporting pushpin and we have the pushpin reporting module. Let's show the options here because there are a couple of options we need to talk about. You'll see that there is a latitude, longitude and radius option that are all required but not filled out with the default value. Now this is important. Not necessarily for the actual data that's going to go on the map but the way it looks. So the latitude and longitude is going to establish where the center of the map is on the screen when you load it and then the radius is going to be the nice little grayed out circle out from the center of the map that kind of gives you a radius from where you've searched. So let's go ahead and set these. I need to show locations because I want to get this set in the right place. So let's set latitude to this and we'll set longitude to this. Set radius to 1. I'll make sure we've got them set. We do. Let's go ahead and run it and we'll see that it has created our R2 HTML reports for us. So if we go here let's load up the media, the media one first. And you'll see you have a nice little layout here. Different columns with the data in it and it looks like it's taken a bit to load the Twitter stuff. We'll give it a minute. As you can see here now we're starting to see data in a useful format and it is sorted chronologically. So the most recent ones are at top and you've got Fligger images. You've got Picasso images. You've got Tweets and you've got YouTube videos all from the area. So that's pretty helpful, right? But it's not the best way to view this data. It's not the original purpose we created the Pushpin tool. That's what the map report was. So let's go here and let's look at the map. As you can see is now we have a nice interface with a Google map that shows us all the pieces of data that we've actually pulled down. Now if we go over here to satellite view you'll see that here's the National Security Agency and here's the headquarters and we've got various Tweets and things around in the parking lot that we can look at. All kinds of different stuff. Flicker images that appear to come from within the building itself. YouTube videos that appear to come from within the building itself. The green dot is the center. That's the epicenter of the map. That's the cross section of the latitude and longitude that you gave it when you went to report. Just lots of interesting information and you can begin to click through this information and start looking at these where the information is located where it came from where the person was at when they actually uploaded the media and begin to create associations between people and places and things. One of the really interesting things about the new version of Pushpin at least the integration into ReconNG is that now since all the information is stored in the database rather than just run the script and getting one snapshot in time for all that information you can start to create a historical record where you can actually use some of the scripting functionality within the framework to run these modules every 5, 10, 15 minutes every day, every week, whatever you want to you can have these things ran and it keeps a historical record of all the data in the database and so that when you run this report like this you'll see everything for as long as you've been collecting data from those particular locations. That is the Pushpin portion of ReconNG. Again, I hope you enjoy it and if any of you are familiar or know of other resources that allow us to search by Geotag Media please hit me up on Twitter at Landmaster53 so that we can add those modules into the framework. Enjoy and have a great day.


On a bright spring morning in 1932, a fleet of aircraft appeared over the U.S. Navy anchorage at Pearl Harbor. Those aircraft swooped in without any prior notice whatsoever and surprised the U.S. Navy battleships that were located in Pearl Harbor. This was a fleet problem in 1932. The aircraft arrived after the skipper of the USS Lexington, Captain Ernest J. King, maneuvered behind a weather front to go to a position in close proximity to the striking target, Pearl Harbor. After he executed a simulated attack on Pearl Harbor in 1932, he came to Newport, Rhode Island and studied at the Naval War College. This wasn't the first time that King had been at the Naval War College. He earlier completed the correspondence course of the Naval War College, studying tactics and strategy. When he executed the first simulated attack on the fleet anchorage at Pearl Harbor, he had already devised ways of doing load and launch on carriers that had never been done before. While he was at the Naval War College, he also studied logistics. At the dawn of the 20th century, Frank Friede Fletcher devised a system called the Fleet Train System to support logistics. Ernest King knew Frank Friede Fletcher and studied the methods of Frank Friede Fletcher in executing logistical operations in the First World War while serving in the Atlantic Fleet staff. Later on, Frank Friede Fletcher's nephew, Frank Jack Fletcher, would serve as the task group commander at the Battle of Coral Sea. It's the studies at the Naval War College and the experience of the First World War, which influence strategy at the beginning of the Second World War. 1938, another fleet problem involving Ernest King as a three-star admiral and none other than William F. Halsey Jr., operating in the carrier Saratoga and Lexington. They executed another simulated attack on Pearl Harbor. During those exercises, they realized that Pearl Harbor was vulnerable, but they also understood the difficulty of logistics in reaching Pearl Harbor. Operating as far away from California as, equivalently, what the Japanese would be operating, they realized that the logistics was a key element in any potential attack on Pearl Harbor. So in December of 1941, when the Japanese did attack Pearl Harbor, it truly was a surprise. Given all of the circumstances that are required to execute a secret operation such as the Pearl Harbor attack on the 7th of December 1941, the Americans believed it was too difficult to do. And so they deduced that the Japanese were actually focused on Singapore, not Pearl Harbor. This is the element of surprise, even though the U.S. Navy understood the vulnerability of Pearl Harbor, they recognized that the difficulties involved with doing it were such that it wasn't worth the effort. The Japanese surprised the Americans at Pearl Harbor. At that time, Ernest King was operating in a quasi-war in the North Atlantic. He was in the rank of four-star admiral at that time. He was fighting U-boats without a declaration of war. On Halloween night, 1941, Ernest King was in command of the Atlantic fleet when the destroyer Ruben James was sunk by a German submarine. When Pearl Harbor happened, they called Ernest King to Washington. Chester W. Nimitz had already gone to Pearl Harbor to assume command from the Commander-in-Chief U.S. Fleet, husband E. Kimmel, and Nimitz was basically picking up the pieces up after the attack on Pearl Harbor when King arrived in Washington. At that time, Ernest King was told, you are going to assume Supreme Command of the United States Navy as the Commander-in-Chief U.S. Fleet. At that time in the United States Navy, the term was called Sinkus, the acronym. When King said, my title is Sinkus after Pearl Harbor, he said, I'm going to change the title to Cometch. Commander-in-Chief U.S. Navy. It's in these dark days of 1941, December and the spring of 1942 that King immediately sent the United States Navy on the offensive. Lacking resources and lacking logistical means, it was unclear where the Japanese mainline of effort would be. Everybody concluded it might be Singapore, but Australia loomed on the horizon. King immediately sent orders to Nimitz, keep the lines of communication open between the West Coast of the United States and Australia. The key to victory in the Second World War was through three different routes, one being the northern route, the other being the central route aimed at Formosa, and the other being the southern route. Trying to keep those options open, King used his carriers in sweeping strike operations during the spring of 1942, keeping the Japanese guessing where the United States was going to hit. But keeping those lines of communication open to Australia was the key element in the early strategy of the U.S. Navy in the Second World War, and that job felt to Chester W. Nimitz.  It's in that spring 1942 context that offensive mindset that Ernest King brought to the table as the Commander-in-Chief U.S. Navy that culminates in one of the most stunning adventures in the Second World War. Only five people knew what the plan was. Ernest King and his staff officers Francis Lowe and Admiral Duncan, Wu Duncan. Colonel was also brought into the room, and he was told of this idea of launching Air Force land-based bombers from an aircraft carrier. But the plan was a Navy plan. Air Force Lieutenant Colonel Jim Doolittle flew off the decks of the Hornet and executed what is now known as the Doolittle Raid. In the spring of 1942, Ernest King was taking the fight to the enemy, even lacking the resources to do it, he was keeping the enemy on their heels. Having conducted the Doolittle Raid over Tokyo, Admiral Halsey returned to Hawaii to refit. At that time, he received orders from Chester Nimitz to prepare to get underway within five days. At that time, Chester Nimitz had just returned from meeting with Ernest King in San Francisco. Ernest King shared with Chester Nimitz the decisions made by the Combined Chiefs of Staff during their Arcadia Conference during their meeting in March of 1942. Chester Nimitz advised Admiral Halsey of plans to strike in the Mandate Islands, the Solomon Islands, the Marshall Islands, because intelligence had revealed Japanese plans to take positions at Port Moresby and Toulogy. To interdict those operations, Frank Jack Fletcher received the job of executing interdiction operations against the Japanese forces. During the months that followed and weeks that followed, the United States Navy was still building up for the main offensive in the Pacific. Simultaneously, efforts to realize the vision of the Europe First Strategy were unfolding. This was a global war. These operations were very difficult to execute given the resources available, given the fact that the Japanese had numerical superiority and they had the ability to use geography much easier than the United States Navy. It was logistics and planning and intelligence which enabled the United States Navy to maneuver their forces with precision in order to interdict the Japanese offensive into the Southern Pacific Ocean area. On the 4th of May 1942, forces under the command of Frank Jack Fletcher, Aubrey Fitch and Thomas Kincaid, located the Japanese fleet and struck using aircraft carrier aircraft to sink Japanese forces as they were trying to maneuver. Not to be outdone, the Japanese did maneuver around and were able to strike the United States Navy's carriers as well. As a result, the United States ship Lexington, King's old ship, was sunk. It actually had to be scuttled because the damages sustained on the Lexington made it impossible to repair. And so the United States Navy sank its own ship after the Battle Coral Sea ended on the 8th of May 1942. With the Lexington taken out of action and sinking, the crew of the Lexington ultimately had to scuttle the ship. The Japanese had also sustained significant damage. Frank Jack Fletcher reconciliated his task force and maneuvered away from the scene of the battle. Ultimately, the Battle Coral Sea was a draw at a tactical level. But from a strategic level, the Japanese had actually lost the initiative. Intelligence derived from the solution of JN-25B, the Japanese operational code, enabled the United States Navy to predict where the next attack might happen. They deduced that the next Japanese attack would be focused on either Kiska or Midway Island. Because the United States Navy had so few resources at the time, they had just lost the Lexington, Chester W Nimitz back at Pearl Harbor ordered that the damaged Yorktown be reconfigured to participate in the upcoming action. It was because of the intelligence, logistics, and the strategic foresight that the United States Navy was able to set the stage for what would become a true turning point in the Second World War, the Battle of Midway. It was the Battle of Coral Sea that seemed like an initial skirmish to Ernest King, the first battle that he noted that the two fleets did not come into direct contact, but with aircraft conducting most of the tactical strike during the battle, the first time in history King noted that that skirmish at Coral Sea was what set the stage for what became a decisive turning point at the Battle of Midway. And with that, happy birthday United States Navy.


Good afternoon. I'm Peter Bergen. I've run the international security program at New America. It's my pleasure to introduce Becky Frankel who has been a longtime friend of New America. We've known You work with us for five years at least Becky as you know has come out with war dogs which Got rave reviews in the Washington Post and in other for her And so she's gonna talk about the big themes and stories in her book and then we'll open up Q&A Well, thank you everyone for coming. It's nice to have a small group. So I appreciate you coming in the middle of the day So yeah, so the the book has been well received and that's really nice for me But I think it's even nicer because it's it's being shared by all of the handlers and the community that surrounds them Which is sort of a protective community They are very committed and passionate about what they do and I think that you know to be able to highlight not only what they do or not only they're sort of harrowing stories because I think people get very attached to the idea that you know dogs are our heroes and certainly they are but the Difference they're making is very significant and I take it very seriously and I know they do too So to have people be you know coming to this topic in that way is a great thing So this started in part with my work at foreign policy. I work with Tom Rex who is Associated with Peter and New America Foundation and also is a wonderful guy and a very prominent and talented and Dogged journalist he was you know the Iraq war correspondent for the Washington Post he covered the Pentagon for the Wall Street Journal and I started to work with him for the best defense And as I got to know Tom who has a sort of an intimidating presence I think at first is sort of a younger journalist working with him and I found out that he has these two very small dogs and he loves them very very much And that was just sort of a way that we bonded and it was a way that I I got to know him And it was through his his dogs and actually at the time I had a cat and he wanted to hear nothing about it. He was not interested in my cat at all So we just talked about his dogs and one of my my jobs at foreign policy is I do a lot of photo editing and During that time. This was like 2008 A lot of the photos that were coming off the wire from Afghanistan and Iraq were war images certainly and and those Images are very gritty and and sort of hard to look at and you become kind of accustomed to them. I think and But one photo came across and I saw it and sort of stopped and thought I have to send this to Tom and it was a picture of Marines In Helmand province and they were with their bomb sniffing dogs at their barracks, which was essentially this very makeshift outside Arrangement near you know, you could see the Hasco borders in the background, but they looked so happy The dogs have these like huge smiles on their faces and it was just such a contrast It's just our contrast to everything else that I've been seeing and so I sent it to him And of course, he got very excited about it and asked me to find some more and I said, okay Sure, I'm happy to look for photos of dogs for you And and I found a lot more and it's a very rich and deep Subjecting goes back hundreds and hundreds of years and there are these little sort of gems these little nuggets in history And I was finding them, you know in papers from World War one reports to Vanity Fair or to the New York Times and so we started to do the war dog of the week post which Which led to this which was which was wonderful But just wasn't the most widely read story that on fp of all time was Yes for a long time running. I think one other piece has now surpassed it But when the the news about the Osama bin Bin Laden mission came out in May 2011 There was this little piece of piece in the report that there had been a dog on the mission And they named the dog Cairo and they said that the dog had been in the US Navy SEALs And that wasn't surprising to me at all, but people kind of went bananas over this news and I thought well, all right fine, you know My my boss at the time season Glasser said we'll just pull together some photos, but you know and just do it and I can say it's huge the small group But I was actually supposed to go on vacation with a friend and I was like, oh, I don't want to do I just want to go out of town and I I pulled together some photos and just tried to answer the question of Why why doesn't it surprise me or why shouldn't it surprise the rest of us? That there was a dog on this mission and so I pulled together some photos and It went viral as they say and I did not get to go on vacation but I got to do a little bit of press and It did very well for the magazine And then the opportunity to write the book kind of came to me even though Tom for a long time had been saying Oh, this should be a book But I think the connection that I made with Tom over dogs um actually proved to sort of be the The path that I forged into this community that is so protective that is so defensive of The work that they do and their and their dogs because I think a lot of time people from the outside might see the training that they do, which is Intense at times. It's very very very physical and can be kind of rough These dogs some of them are you know, they weigh up to 100 pounds and they're very aggressive and they've got really sharp teeth and they're trained to do patrol work, which is bite work and So they you know the first time I was the first trip that I went on was to Langley Air Force Base a handler that I knew through just I called him I found a story about his kennels Which is at the US Air Force Academy in Colorado and he was touring the country giving these clinics to smaller teams of handlers through the Air Force And the first time I I went to watch them train He told me later He was really nervous about having me in the yard with them because he had to handle this one dog who Sort of got worked up into a frenzy and couldn't be calmed down any other way But for him to become a little physical And I thought it was funny because the whole time I wasn't watching him, but I was watching the dog Just to sort of see how the dog was reacting and the dog was fine So I I didn't see that as abuse, but but they are Kind of standoffish a little bit until they sort of get Get that you get dogs and get that you get the work that they're doing But I sort of found through my research and my reporting trips and You know these conversations that you have even though you're talking about dogs.  I think only 10 of them had survived Excuse me. 10 of them had been killed. Only two of them had survived And was he with these EOD technicians? No, they weren't. They were the dog handlers. They weren't dog handlers actually Dog handlers didn't go into Iraq until 2004 and took them about a year for them to pull together first the idea that they could be of use to them and then to because the dogs the dog teams that were First sent in the ones that they deemed to be the sort of most Ready for this kind of work still weren't trained to track IEDs because nobody knew that they would need dogs to do that They weren't anticipating this threat at least in the way that I think they met with it once on the ground um So they had to sort of learn as they went But if you were to ask a vietnam handler Who went to war with a dog who used dogs for Scouting on patrol so it meant that the handlers and the dogs were out in front and they used the dogs as sort of a measure for danger. So the way that The way that they would do it is that there's a leash between the dog and the handler And as long as the leash is taught it means the dog is comfortable going forward Once they perceive a threat of any kind whether it's their smelling Ammunition they're smelling guns. They're smelling humans. They're hearing noises in the trees. If maybe it's a sniper They'll stop and then the leash goes slack. So in the in the dark. This is a very good way to judge whether or not you can Move forward. It's a sound less Quiet way. So if you had asked a handler a vietnam handler in 2003 What they should be doing with the dogs They could have told you exactly what they would have been good at but unfortunately Vietnam in particular The dog program was disbanded and mostly because they left the dogs there in vietnam and sort of haste to leave the country and the evacuation which is A terrible chapter in our dog history as it were And many of these handlers are still very much Traumatized it's hard for them to talk about their dogs Because they didn't know the dogs were being left behind But in any event so So moving forward so but I found that talking to people about their dogs First was a way to establish a very solid Connection and that actually made it much easier To talk about war through talking about a dog And that might seem Simple but it actually sort of worked And I think it's sort of People have so much love for their dogs if you're a dog lover then of course you already know this but And there's many reasons why humans connect more easily with canines than they do with other species There's all these fantastic studies that have been done to show that In fact, there is a a bond And a sort of a biology between between the species for example You we might take for granted that you know when you talk to your dog and you you tell them like We're going to go for a walk and they of course.  They're at the door They that is communication. It's easy. It's simple and you don't think about it You didn't train them necessarily to understand that leash means walk that they just know this But in fact, it's actually not So unremarkable as that, you know, there's a woman In sweden who conducted a study between Communication between humans and chimps and humans and dogs and you would think that Chimps are much closer in terms of biology to humans and then certainly dogs are but in fact It's much easier to communicate with the dog. So her experiment was She was sitting across from a chimp that knew her they'd sort of been In the clinic together for a long time and she had three three cups and she Took a piece of food and she took a cup and she put the food down and she Covered it with a cup and so then she starts talking to the chimp and she said Hit the food is here. Here's the food and she's using her voice and she's gesturing in her faces Also communicating and the chimp is doing anything but listening to her She's picking up the cups and she's looking around but at no point Is there any sense that one is sort of reading off the other? And then it flashes to the same experiment but this time with a dog and the food is on the floor And she walks into the room and from the minute she comes into the room the dog is focused on her He's looking at her. He's tracking her And she says the food is here. She says the dog's name like, you know Rex the food is here and he goes right to where she loves him and maybe he smelled it but you know Because dogs do have incredible Sensory powers their noses are amazing But in fact, you know, the dog was was listening to her was communicating with her Didn't Anderson Cupert do a form with this experiment on 60 minutes a few months ago? I don't know. I missed it. Yeah, did he with the dog? Yeah, okay So so he's testing improving the theory then I guess But it is I mean it's so for me that was really Sort of a profound realization that actually there is so much more to this that seems so natural and simple between humans and dogs Which I think just sort of resonates to why um human to human contact through this thread of a dog and through the The love and affinity we have for dogs makes talking about war a little bit easier and So so that was an interesting part of the book for me Also something that was surprising Was to find out that a lot of the handlers had a hard time Even if they could talk about how much they loved their dogs. It was very hard for some of them to use the word Um, I think that part of it might come from the training They're the older school of training as always, you know, you're not supposed to get attached to your dog Um, you know, don't treat your dog like a pet and and certainly that is important When the dogs are working there working just like when you're working you're working You can you know, it's easier to do your job if you're focused solely on the task at hand and same for a dog Um, but I was very surprised that when I actually asked the question, you know So do you think your dog loves you then and some of them said no No, they don't I said well, we were just talking five minutes ago about how You lost your first dog and how it was the first time you cried in front of your, you know The men and women that you work with and and how hard it is for you still to think about them But you don't think that that's about love and and they would say no and they rely oftentimes in this sort of alpha wolf pack speak which is I think still pretty common in in training dogs And we rely on the model of a wolf pack, which I think originally it was the idea that there was the alpha and then the The betas who sort of fall in line behind the one the one wolf Um, but if you read a little bit more about some of the recent writings on dogs They look at wolf packs not as hierarchies, but actually as families. So the relationships are Really more about bonding and loving and then sort of following the leader So I this was sort of what I came away with of course, you know handlers and dogs the the emotion exchange, you know is is love It's whether it's familial or You know a bond between friends. It is even if you can't Use the word and then it is very much about About connecting and I also found that you know the dogs and the handlers that seemed closer Performed better Which to me would would be something you'd think that they would want to foster Because if we are relying again on this sort of understanding that dogs and humans have this unique ability to communicate That doesn't it seem to make more sense than that the closer they are the better their communication is And the better they will perform as a team And I learned this lesson very Very this early on my own because at one Training exercise I went to I spent a week in colorado and I went to a bunch of different military bases there Excuse me and at four actually at Buckley Air Force Base I was watching a number of different teams do a number of different searches They were searching for drugs and they were searching for explosives And so we get to this bathroom and one of the sergeants says okay, rebecca You know, it's your turn and I was very comfortable sort of hanging out in the back and taking pictures and writing notes and being very quiet And they said no, no, no, it's your turn. You're going to find the bomb And so they gave me the leash to this dog. It's named haas the german Shorthair pointer and we had been getting along very well. Haas was a really gentle dog. He was uh People friendly And so we'd been hanging out and I thought okay. Well, this might not be so bad I think I can do this. I've been watching all of these handlers, but you know for hours We've been doing this and I was studying them very closely So I thought okay, and I was a little bit nervous because it was me and about 12 other kind of big dudes and they were all going to watch me in this very brightly lit bathroom and so I took the leash and That was it. They just said find the bomb.  He followed me and I thought okay so here we go and he's moving very fast because These are not slow searches, right? Like if there really is a bomb in this bathroom then you want to find it and you want to find it very fast so haas just like takes off and goes and we go to the sink and I you know Tell him to hop up and he gets up on that not all the way up But he puts his front paws on the sink and then we're doing pretty well and then we hit the bathroom stalls and So the first one was fine I managed to open the door and I got him to go around sort of the the toilet and I'm in there with him and it's crowded But he gets out and then he shoots out ahead of me and he goes to the third one And so the second one's I have to pull him back and then we get into the second one And he gets all tangled up in the leash and then I get tangled up in the leash and I was I could hear them snickering in the doorway and I could feel my face getting red But I was like I'm not gonna give up. I'm not gonna give up And so we get to the second stall and then we come out and it happens the tangling happens all over again And I had the the bathroom door hit me in the back and it really hurt and I just thought in my head I just thought I can't do this and I was still at the moment while I was saying that I was still giving the motions I was still telling haas to go forward and he just stopped right there And sat in the middle of the floor and he looked over at the guys in the door and he was like No, she can't do this And I mean he really exposed me and it was but it was a very quick lesson because A number of things that they had been telling me all the way up until this point I had not I had been listening to but I had not been Absorbing and those things are one The emotions run up and down the leash that's something handlers say all the time So when you get frustrated your dog is going to feel that you get frustrated If you're nervous your dog might be nervous But also it works the other way too.  They know how to do the job. They're supposed to do and Haas was like You don't know what you're doing at the end. What are the you know the the breeds of choice? um, so mostly right now the military the united states military uses German shepherds and belgium melon was and the reasons for that are german shepherds are very intelligent dogs Which means that if you're a handler for a german shepherd, you have to keep them engaged You can't have a rote Sort of like we do the same training all the time because they're going to get bored or they're going to think ahead of you And know that okay, I know if I sit down on alert, you're going to give me my toy Which is sort of their driving ambition there And the belgium melon was have this crazy high work drive. I mean these dogs could work and work and work and work until they drop they just Cairo was a belgium melon was so they say yes Although I've I've heard off the record that his name is not cairo. Um, but let's let's assume that his name was cairo for the moment What was he doing? What was he supposed to be doing? So I I would guess that what he was doing is um, Probably there so special forces dogs are trained a little bit differently um You know, there's no record of them, of course What they do and I I was able to watch one they have covert identities. Thank you They do and so I got to know some veterinarian stationed in bagram Really a team of three. They're really wonderful and they saw all the dogs that came through afghanistan um And They would tell me, you know, they told me how many special forces dogs they had but there were no Records of them kept necessarily and um when they were killed no record is kept of how many dogs are killed So that was actually one thing that was really hard for me to do was to determine how many dogs have been killed since we started in iraq because While records are kept each branch keeps their own records. They all keep them differently Some of them put will put down a cause of death. Some of them won't And so it's it's complicated. Um, but what what cairo would have been doing I would have guessed is Possibly there for um helping to detain anyone who might have tried to flee on foot Because yeah, if you've ever if you've ever watched any of these bite training, you know These dogs if if somebody is running at a great speed and the dogs chase them down the momentum that Catches when they connect them when they hit It's it's unbelievable how hard they go down and uh, actually that was something else I did in training I Got into the bite suit and I I I went got bit And I was wearing not the thickest jacket because those are really enormous. And so it didn't fit me so I couldn't wear it But the one that I was wearing I they said no, you're not going to feel anything Like he's they they train the dogs to catch people like right here on their arms Or right here on their chest or on their legs But this is the best way to if they're chasing someone at a high speed and they catch them here and go down It's very easy for them, right? They pull that they can pull a person down Whereas if they were to hit their legs they might stop them but not totally knock them off their feet um And so yeah, I felt it I felt every bit of it and it really hurt And I excuse me. Um, I Had a bruise afterwards and I've seen some of the bruises on these you know much really these like really big broad muscular arms and they're They're like this big they're huge and it looks like you know somebody sort of just painted it black My bruise was very big for me, but it was not uh, it was like You know a paper cut compared to like a gunshot wound. It was nothing to complain about but it If I can't imagine what that would feel like without anything Look, talk us through the reporting process I mean did you do this big literature review about dogs? And then dogs in the military and then you where did you travel to and how did So I went to um a bunch of different military bases only here in the united states Um, and for me it was more about where I knew people Um, I tried to avoid at all costs going through the military's public affairs office While I I certainly appreciate and respect The work that they do, you know, if you want to really know anything about How this works you go right to the source. Um, you don't want Someone sort of walking around making sure you're not asking certain questions and so and they didn't have to go through their public affairs to do I didn't I ended up not not being able to um, I always had permission to be where I was But there was at one point, um Well off off the record. I will say that at one point I I was able to go watch something I I didn't have permission to do and I didn't have to hide in a van for a little while But in and and the reason why I think that they allowed me to do this is because I really was First and foremost interested in educating myself. I wanted to know everything That they were willing to show me and so if they said Where we start, um, you know pt at 5 a.m. And I would say, okay, I'll be here at 4 45 and you know, I didn't leave until they left at night and Are the trainers mostly men? They are mostly men. Um, it is a very the military You know, there's a lot of ego and and machismo and certainly there is that in the dog handling field Um, a lot of handlers like to talk about, you know, who's got the baddest dog and whose dog bites the hardest Um, you know, it's a thing, you know, they they talk about it But the handlers I found were to be the the ones at least that I gravitated towards were the ones who Would say things like you're never done learning. You can learn from everyone, you know, all the people who go into this field That's what they're gonna do A lot of them that I met wanted to, you know, work with dogs and either police force A capacity which, you know, it's very hard to have a long career in dog handling in the military There's only a few rungs to climb and then once you get to the top you kind of what is the top rank? Uh, kennel master. What's that kennel master? Okay, and is that a what is that rank equivalent of? Um, I think it's like an e Four or five I'm not I'm not sure But it but it's a it's enlisted or is it an off? I mean is it is it so some The the dog handling community in the military is like a microcosm of the the larger military, so it's been very small um It's very very small Even though I think that it is important to acknowledge how big an impact such a small community is having over across the broader Especially in combat zones But it's like any any job field right that the higher you go the finer the point is at the top and so those opportunities are fewer and further between and But not all of them are enlisted at that point But I think it's very rare to get a high ranking position like that and have retired out of the military So, um How's the you've had all these great reviews, uh, you've gone around the country and what do what do I'm looking at? It's very open to anybody with for questions unless you're you've got something else you want to say I mean I can talk about this forever. So I'd rather I'd rather talk about So like, you know, what has been the overall response? I mean who's the we were talking earlier I mean, you've got this big Venn diagram of the military, which is a big group and people and then Big group of people who love dogs and sort of like this group in the center, but they're The people do you tell me what you just told me the idea before we were at World Chats lunch? Oh You know, it's it's definitely a mix a lot of what I've enjoyed a lot And doing so they sort of talks and then meeting people one Couple, you know when you're when you're giving a talk and or you're talking to a group of people And you're sort of looking and making eye contact There was this one couple and they were sitting in the back and they just were so Happy they were just so happy and then they came up to me afterwards and it turns out that their son had been a handler in Afghanistan He just finished his service I think with the marines and he's okay, but he has his dog and he loves his dog and they they felt like, you know They wouldn't have wanted to have sent him without the dog They felt like the dog kept him safe and that they you know would have done anything to for this dog, you know That they're so grateful and thankful and Um Those kinds of things are nice. I was in tamp tamp or st. Petersburg rather A couple of weeks ago. They had a book fair and I hadn't expected this so I wasn't really prepared for it and I wish I had sort of Replied a little bit differently, but this man came up. He didn't say anything. He just handed me a post-it note And his book that he wanted signed and on the note It just said rex and had a number and I knew that that meant it's the The id number the tattoo number that they put in the dog's ear like their dog tag and I realized by his age, of course that he had been in vietnam and we had I had been talking In the talk about what had happened to this One handler and how he tried for years and years to find his dog and how you know this still sort of rattles him and and to know that she had been killed and Without him being there without knowing it just is like this thing that haunts him and he this man didn't say anything to me He just sort of handed me his book and I said this was your dog and he just sort of said yes, and he was I think kind of overwhelmed with emotion and so That means a lot to me to have those kinds of meetings But what I was telling peter is that a woman wrote me an email and said there was too much swearing in my book And that she couldn't get through the first chapter and had to return it to the library So I thought all right Fair enough, but I mean you're also saying you know I mean people who have an interest in the military have a strong interest and people have an interest in Dogs have a strong interest so it's like these two communities that are pretty intense The enthusiasm is extreme And and that's that's kind of a wonderful thing to know that you know People who care about something so much are finding value because it means then that if You know like anyone who's a diehard fan of any you know sort of niche topic that You you consume as much as you can so I'm sure they've already read All the wonderful books on this topic or I read just wonderful books about dogs and there are so many of them I have a huge dog library now Dog book library. I should say What are the best books on dogs? um On dogs in general. I I was particularly drawn to mark durr's books. He's written for the atlantic before He's he's I talked to him for hours. He's a really interesting man But he wrote a book called on the dogs history of america, which is fascinating and he's he's a very intelligent writer And he has these wonderful little stories about you know dogs all the way through um, and you know, he writes about how columbus used dogs and to to very horrific degrees as sort of Hunting people down. Yeah, and using them to kill people so Not not a great guy columbus Do you have um thoughts about what your next project might be? I do Is it going to be in the canine field? Um, I I Certainly came across many Like, you know, you go sort of down these like rabbit holes and they're really particularly interested in world war one um, some of the best books on animals and more I think came out of that time period um urinal Paris Baines is the last name um urnist herald baines. I think is his name. He wrote a book called um animals in the great war And it's yes. So it's like a perfect storm. Yes British love dogs and they love the first world war Absolutely, and it's written in sort of you know, each each uh wartime has its own sort of uh vernacular exactly, you know the world war two it's sort of there's a lot of like nancy drew type writing so it's like Golly gee this dog was was great and um World war one. It's very gentlemanly, you know sort of Archaic Vocabulary, but they're they're wonderful and and the stories are wonderful, but they're So this vietnam handler ron a yellow that I interviewed who brought his dog stormy to vietnam. He was a marine He Goes to these uh handler reunions every a few years for the vietnam guys and maybe about 10 years ago They were having one in new jersey somewhere and so they all got together his group of friends that have stayed in touch And they went to new jersey and they realized that it was a reunion for world war two handlers That they had just not paid attention to the flyers or something and it just sort of ended up there by accident And he said Just sort of stay and they ended up he said they ended up staying in one hotel room with a bunch of guys or in some part of their hotel for like Almost 24 hours together almost the whole time just telling stories and he said, you know It didn't and the end it didn't really make a difference that it wasn't the same war because the stories were sort of the same So I think that that is definitely true Anybody has a question How many dogs are currently in the active duty and do they use these dogs to breed new dogs to for war dogs so the united states military working dog program is uh the The overseeing branch is the air force So the sort of main hub is at san antonio and in san san antonio at lackland air force base in texas And they have the dog training school there. They have the um big veterinary hospital there that they call the walter reed for dogs Um, and then they have the breeding program there. So they breed belgium malin was um, and they have a litter Uh, they have lots of litters. They all get assigned a letter. So they have a double consonant Double double letter before and you know at the beginning of every name. So the r litter had Rock and risky and they are our isky So they do um and currently right now the entire program has about 1200 dogs, I think But these are not dogs in combat zones These are dogs, you know station that any base any military base around the world the united states military base so The the numbers are much fewer than they were about five years ago. They're they're drawing down the canine forces Peter jule, I'm from south american progress more here in my capacity as a dog person. So So they're building off of that question why the air force and my my main question is what's the sort of the career path for the dog and what happens to the dog when Or she gets mustered out of military service Um, I I don't actually know why the air force took over as sort of the overseeing branch. I would think that it would have been the marines, but possibly because The marines are much smaller in terms of you know, particularly in terms of the canine program they The way that they use dogs is a little bit Not in their capacity and sort of a day-to-day job, but in terms of when we enter a conflict how the marines they sort of You know tip of the spear go in. Yeah So it's a good question that I don't have an answer to but So in terms of a dog's career field a path rather Dogs operate very differently. They get assigned to a home station and they don't leave unless they're transferred for a particular reason um And so it's the handlers that kind of come in they cycle in and out and as they move to their different assignments But a dog and a handler always deploy together and they return to the home station together And then if a dog gets assigned a new handler then then the process always takes place at the home station But it really depends on the dog Sort of maybe just like any other individual in the military um some dogs have Longer working careers working lives than than others. They just weather it better But it's a hard sort of a harder life, you know, so some of these dogs start aging out. They can age out as early as nine But some of them have been some of them are in their whole their whole lives So but when it is time for a dog to sort of finish their military service Then what happens is there's a review process And the veterinarian in charge of the dog who looks at the whole So dog records are mostly kept through the veterinary records and then they have sort of their training records So they look at training records. They look the veterinary records the handler and the kennel master of the home station and A behaviorist comes in and sort of Looks at the dog to make sure that if they're going to retire into a home What kind of home is most suitable for them? So can they be in a home with other dogs? Can they be in a home with young children? You know, what is the answer usually? A lot of them do do go into regular homes, but some of them, you know, it's a matter of safety So they're too aggressive or they have sort of triggers and You know, they're they're they're too one person protective So and that sort of all depends I was curious about the photograph Oh, yeah, yeah, Genesis of the photograph. Yes. So this is actually I believe from a training exercise My publisher picked that one But it is sort of they they do the repelling from sometimes from helicopters So the photo that kind of launched the Viralness of that Osama bin Laden. It's a very famous picture. It it became one. Yeah, right And did you did you launch that I I think so? I mean, certainly I didn't take the photo, but I Tell me what it looks like. Tell everybody what it looks like. There's a very famous picture Yeah, so it's taken from the back of a Chinat helicopter and you see Presumably the handler and a dog and they're launching into the water And you kind of see the dog in midair and when I first saw the photo I called a few handlers that I knew and I said, you know, tell me what's going on here And this is this dog going on his own and some of them said no, he probably had some help But then a year later I decided to track down the photographer and like get the story behind the photo And I found him and we talked for a while And he said that it was just a lucky shot that this was at the end the dog and the handler were the last ones of the The guys to take their jump and what I hadn't realized if you look out into the water You see these little tiny like ghostly figures and it's Men in the water and they're going like this. They're cheering the dog on And he said that the dog went on his own the handler went and the dog went But you can you can google these things. There's a lot of handlers that will they take Jump out of airplanes with their dogs. They get strapped in there. They teach them to do this And so you sort of I wouldn't I wouldn't jump out of a plane on my own accord Maybe if it was going down and somebody wanted to like give me a push I would go but So I don't really understand the uh the thrill in that but You so you see them go down and the dogs got a muzzle on and He's just kind of hanging it and the dog has But does the dog have its own parachute or no, he's strapped into it So they get strapped in like this and so they sort of cradle them And then you see what happens when they get on the ground and these dogs are like Just running around crazy. They're so excited and then in another one I watched I was it was kind of awesome It was a handler who had Been in an IED explosion. He lost his deodev his feet amputated So this video is of him taking his first jump with his dog After after sort of healing up and you can see the dog knows exactly where they're going.  So he just can't wait to get on these all he lets himself get strapped in so You have to imagine some of them really do love doing this even if some people wouldn't want to What's your favorite story of a dog in a handler that you've come across Too many You know I was thinking about this the other day because somebody asked me and I didn't have a good answer already But something and I I still actually tear up every time I read it Amazingly, it's this Napoleon wrote about coming across a dog. He wrote about it years later when he was in exile Sort of looking back on this experience and he talks about going to Into the field after they sort of devastated this battalion of men and there are just bodies all over the place and there was this one dog and he was sitting by the The body of whoever he had been attached to and when he Saw these people come in the dog got very excited And kept running up to Napoleon and then running back to the man on the ground and like licking his hand And basically Napoleon was saying that he was clearly employing Him for help And he said that you know in writing about this he said it was the most moving experience He'd ever had in battle but and no other time In all the lives they laid to waste fighting that he ever felt so ready to Show mercy on on the enemy Then he did at this dog. So I just It it just resonated in a way that is sort of all these stories have in the middle of them this very sort of Bare tenderness to them. I think because Dogs offer their service so unconditionally And they're they can also be manipulated for quite evil purposes and the nazis use dogs for fairly frequently for Having people up and yes they did and I think In understanding that you have to sort of understand that it's not the dogs that are evil certainly And that what they're doing is just following orders following orders exactly Which which might ring a little bit lame Any other questions Okay, well, thank you. Thank you very much for this wonderful presentation. I'm sure you'll be willing to sign books Thank you very very very much


You need a financial advisor with the freedom to focus on your specific needs. Whatever your goals, Reed Potter can create a game plan tailored to you. Call Reed at 432-0777 at Pikeville, Kentucky to learn more. Breaks Interstate Park will be offering a variety of events for all ages Saturday, July 15th. The park will be hosting a fun guy hike, a canoe workshop, and a Junior Ranger fishing program. We have three big things going on. We have at 12 o'clock a Junior Ranger program. It is a fishing Junior Ranger program. We'll have people who come by and we have little activity books to fill out that we'll talk about different kinds of fish, different ways to fish, from places to fish. Park admission is $3 and all programs are offered free of charge. The canoe workshop has 12 slots available and will be held on a first come, first serve basis. We're calling it the Breaks Canoe U, like canoe university. We're going to kind of just go out. We're going to get people situated in the middle and we're going to go over some basic paddle strokes. We're going to do just trying to get everybody on the same page. When you've got to do the bow and stern, sometimes it's hard to work together. A lot of it will be figuring out who you're sitting with and how you want to communicate. And then just like the basic paddle strokes. And once we get that down, we'll kind of just go explore around Laurel Lake in the park. For more information and a full schedule of events, go to Breaks Interstate Park on Facebook. Reporting for Mountain Top News, I'm Brianna Robinson.


What's good, you two? This is your boy Chiwara, back with you all again with another tutorial, man. Today I will be teaching you guys how to make Victor style cartoon heads inside of Procreate on your iPad or your whatever device you're using. We're using Procreate. The app is called Procreate. It's right. It just looks like it right here. If you're new to the channel, go ahead and hit that like button. Come and subscribe. Make sure you click post notifications so you will be notified the time I drop some heat. And before we jump into this video, man, I want y'all to go ahead and drop in the comment section, free 21 Savage. Now without further ado, let's jump right to the video. Okay, first thing you want to do, you want to open it up and you already want to have a picture you find to use, save in your camera roll. So now we're going to click this little tool. We're going to go to add, insert a photo. And as you can see, I got that picture saved. So what you want to do, you want to go ahead and stretch that out. I'm over here, drop the opacity down. And I'm using an Apple pencil, by the way. You know what I'm saying? This really come in handy when you're drawing on your iPad. You know what I'm saying? The pressure sensitivity is so dope on this thing. So look, now we're going to create us a new layer, put it right above the image.  You want to select the inking brush. Then we're going to get the technical pen. Double click it, and you're going to bring your stream line all the way up to max. So it'll help you create your lines. So you can make some clean lines. You know what I'm saying? Now we're going to come over here to the sides. Make sure your opacity on your brushes all the way up. Don't come to the sides. And now we're going to start working. The more you do it, the better you'll get at making some clean lines. If you want to fill in areas like this that's closed off, all you got to do is drag the color and drop it inside. So the main focus is making cartoon heads and stuff like that. You want to make sure you got some clean line work steady. Make your time closed off by just filling in. Save some time. A little bigger. I always switch the size of, you know what I'm saying? When you're doing different things. So you can have a very nice looking cartoon head. Keep it all running the opacity up on the picture zone so we can see where it is. This right here. I'm going to select this in this corner, in the top left corner. Make sure you got that selected. And now we're going to draw kind of like an imaginary side line. You can tell what we're trying to do. The lines we're trying to stay inside. Okay. I need to draw that over. I'm going to select it again. Make that side line come right here. Come over here. Now that we got that, we're going to go back to our brush. I'm going to go to your brush. Branch down. We got that little hair fade. You know what I'm saying? Okay. Now what we're going to do, we're going to go back to our hair brush right here. And we're going to make that brush smaller. Bring the opacity all the way up. And we're going to come right here and add some details inside the hair. So they had that little real texture type feel. Like our brush a little smaller. So we can get right here. And also we can go back to the little, this brush right here. That smaller picture back up so we can see the color of this brush right here. Inking brush, technical pen, goes off this head without drip effect. It help us out. Okay. Now that we finished with the line work, now we're going to go in and add color. So what you want to do, you want to make a copy of your line work, duplicate it. And one thing you can do, you can bring your picture opacity back up and you can sample the colors off the original picture, but I like to create. So our second layer where we made a copy of our line work. Nice base color. Put a skintone and drop it. What you want to do, you want to fill in all the areas that that drag and drop miss. So let's go to our studio pen. I got streaming all the way down so we can have control, no control, but it moves faster. You just want to go through.  We just color in this color in his skin. Okay, we can drop to that. Then what you want to do, right click your color layer.  I'm thinking we're on the computer. My bad. You want to click your color layer and you want to hit select. And what that's going to do is going to make it where you cannot color outside that cartoon outside the skin color we just made. So we're going to create us a new layer in between and we're going to go to our color right here. And we're going to find a darker shadow and go back to our technical opinion. A little smaller. We're going to add our detail with shadows crease and make sure every time you do it, you kind of close it off yourself so you can fill it in. You know what I'm saying? So as you notice, I'm drawing an imaginary line right here that I can't see just so I can close it off when it's time to fill in. I can fill in. Bam. We're just going to go with that whole technique for the whole picture. The imaginary line technique. Meaning you can't see it but it's there.  So I'm so I can have a little more control and faster. Now that we're done with the dark shadows on the skin, now we fill in a sample of our skin tone by holding on to the color. And we're going to come up here and we're going to find a color in between a nice in between color. That's it. We're going to try it out. You're going to create a new layer and you're going to put it under your dark shadows. And you're going to keep stacking from dark to light and it's going to go lighter every time you make a new stack. It's got to be lighter and it's got to go underneath. I'm learning this with y'all. I'm trying to get the hang of it myself so we we are learning our mid-tone. We're getting the hang of this. I mean duplicate a lot. So let that layer so we can only focus inside the areas we cut the technical pen with white circles for the glare. How to make a cartoon head using your iPad. Making it look like Victor Art, man. If you're new to the channel go ahead and hit that like button. Come in. You already know the Mohi coming soon. And I'm out this time.


Hello friends, I am Sanjay Gupta. In this video I am going to demonstrate you how you can calculate some of the even numbers using recursion in C. Before starting, you can subscribe my YouTube channel by clicking on the link which is available at bottom right corner of this video. You can download my app Takimiz that is available on Google Play. You can connect with me by following these details which are available in front of you. Now coming on to the topic. I am going to implement a code which will add all even numbers using recursion in C for typing or implementation of the program. I am using Dave C++ software. First of all, I am including a header file that is stdio.h. It is for printf and scanf predefined functions. Then I am declaring a function sum. This statement is function declaration that I will be defining after implementation of main. Now I am implementing main function which will call some function for execution. Inside this function I am declaring two variables and an S. Then printf it will display the message and the value of n on console. To receive the input, I am using scanf statement which is containing % as format specifier and then variable n which will receive the input entered by the user. Now I am calling the function sum and I am passing n as an argument. This statement is function call. The result which will be returned back will be stored inside S. So I am printing that result with the help of this printf function. This is complete implementation of main function. Now I am implementing some function definition. This is function definition and this function definition is recursive function definition which will not be using any kind of loop. Whenever you want to implement any recursive function, you have to implement two states. First one is base condition and second one is recursive calling. For base condition I am using f condition and condition is n double equals to 0. Whenever value of n is 0, then this base condition will return 0. If this base condition is false, then return statement will return n plus sum of n minus 2. This if condition is known as base condition and this return statement is recursive function call. So friends, this is complete implementation of the program which will add sum sorry which will implement or which will print sum of all the even numbers. For example, I am taking a number 8 which will be provided by this function call. So initial value of n is 8 that will be received by this function definition. Then this base condition is false because n is not equals to 0. Then as statement will return n plus sum n minus 2. So you can understand it by this 8 plus sum of 6. The function call will convert into this statement, this function call. 8 plus sum of 6. So sum of 6 will again call this function definition. This is a recursive process. Function calling is calling its function definition itself. So next you can write it like this. 6 plus sum of 4. Then again sum of 4 will become function call. So this will convert into 4 plus sum of 2. Then 2 plus sum of 0 will be called. While sum of 0 will be called, this base condition will become true and it will return 0. So here whenever we are calling a function, the remaining parameters that are 8 plus 6 plus 4 plus n 2 plus these values are automatically stored inside the stack. At last, 0 will be returned. So that will be also stored inside stack. Then after termination of this recursive calling, these all statements or these all values will be added that are available inside the stack and the result will be returned back to the main function calling statement. So main function calling statement is this, which is calling some function. So initial value is provided by this n and the resultant value will be received by this s variable that will be displayed back on console using printf. So friends, with the help of this example, we can print sum of all even numbers on console. Now I am going to execute this code. So I am compiling and executing this. It is asking a number. So I am entering 10. It is displaying sum equals to 30. So friends, all the even numbers which are available in between 1 to 10 are added. So it is printing sum of 2, 4, 6, 8 and 10 that is equals to 30. So friends, with the help of this simple example, I hope you have understood how you can add all the even numbers which are available between 1 to n. This program is implemented with the help of recursion c and it is also implementing user defined functions. So implement this code at your own so that you can understand this concept well. If you want to watch more programming related videos, you can subscribe my YouTube channel. Thank you for watching this video.