And this lecture is titled Western Classical Theory of Drama and we have divided it into two distinct parts. In the first part, we will examine Aristotle's Poetics in which he had tried to present the nature of artistic literary forms and also the laws that govern them at that time. The term poetry in that sense is used to refer to artistic, aesthetic, use of language for expressive purpose. So, we will examine this, these very fundamental concepts and ideas from Aristotle. And in the second part, we will look at three contemporary explorations of Aristotle and Aristotleian positions in a fiction manual, in a drama manual and in a manual devoted to drama and computer science. It is really interesting to note that in a recent study, David Morley, while talking about creative writing today, he started with this statement. He pointed out, creative writing stale begins in Athens with Aristotle 384 to 322 B.C. It originates before that because Aristotle's Poetics is an account of creative practices accepted and used for years and is no more than a fragment of knowledge he gathered for study. And if you recollect, we had started this module with an understanding of performative forms in pre-writing cultures, civilizations and historical stages. It is important to note that Aristotle gives us an understanding of the post-literacy phase in human culture. Here of course, as Morley points out, this is based on work that already had been completed, achieved and in that sense, what it refers to is the pervasive presence of this form in the western culture. We have also noted earlier that performative forms exist in every culture, it is almost co-existent with the human condition. Morley goes on to point out that Aristotle's Poetics is a pedagogical mega-virus and he goes on to point out that his teaching transmitted and mutated itself into later centuries by circuitous geographical roots and several translations through language, space and time. And be interestingly, the first authentic version is in Arabic. He goes on to say, time traveling, the Aristotelian mind made itself felt in the work of many writers and their critics. So, it is this Aristotelian mind that we are interested in exploring, it is a mind I suppose which shows inclination towards mapping the literary territory that has its own limitations and strengths because once literary regimentation occurs, then creativity may slip out. So, that is why the Aristotelian mind is a very important, very powerful presence but at the same time you will realize gradually that Aristotelian ideas have been critiqued but without Aristotelian framework, it is very difficult to talk about many, many aspects of creative writing and the creative literary mind. So, therefore, let us also look at some of the translations that are available. Before I begin to talk about the ideas as such, let us look at the translations, there are just so many of them and let us see what we have here for you. In terms of these translations, we notice that they are nuanced in a sort of different way. For example, we of course do not know how the Arabic translation unfolded but certainly in Boucher's translation of Aristotle's Poetics which was published in 1902, there is definitely primacy of the term poetry and in that sense it is close to Aristotelian traditional framework and the way the terminology was used at that point in time and poetry was the key term that Aristotle seems to have used. However, in a more recent translation by Potts, fiction is the key word and that is quite surprising but in some ways even in the title Potts has used the term fiction in translating Poetics. But I think what we do have to reckon with is the fact that the translator reflects the preoccupations of his or her times and in that sense there are favorite literary forms in different points of time and perhaps it is not a very big surprise if Potts used the term fiction although the term fiction also needs to be examined because it has a kind of fluid presence. But certainly we can keep that in mind because you may read different translations and get different kind of flavor. For example, if you were to compare and contrast Boucher and Potts for the same sort of starting point of Aristotle's Poetics, you will notice that Boucher has a very different way of articulating the main ideas and Potts is more fluid and I think he takes a few liberties also. So let us see by way of this comparison before we come to the ideas and structure of ideas which we will examine in greater detail. But this introduction also gives you a sense of the vocation of the artist as to what does the poet do and also a sense of variety of literary forms that and not only literary forms but literary and performative forms that Aristotle was trying to understand plays and map. So let us look at Boucher's translation first and this is how it reads. I propose to treat of poetry in itself and of its various kinds. So poetry in itself and of its various kinds noting the essential quality of each to inquire into the structure of the plot as requisite to a good poem into the number and nature of the parts of which a poem is composed and similarly into whatever else falls within the same inquiry. So this is what Boucher has pointed out. Now more or less I mean in fact the same part but that has been translated in a very different way. It feels easier to read the second translation. It is closer to our times but I think the certain liberties have been taken here. So Potts for the same part this is what how he translates it. Let us talk of the art of poetry as a whole and its different species with the particular force of each of them how the fables must be put together. Now this is a new idea how the fables must be put together if the poetry must be well formed also what are its elements and their different qualities and all other matters pertaining to the subject. So I think the key difference is that the word essential qualities has not been used by Potts instead he talks about the particular force of each literary form and also how the fables must be put together and if you would notice you will also see that the title of his translation also is distinctly different. This is the title page of the book and this is how the translation is presented Aristotle on the art of fiction the Poetics and you know one would feel a bit surprised because fiction now we associate with the novel form. But as I said fiction has been a fluid term and it may be useful at this point to go back to Raymond Williams and see how he has explained the changing destiny of this term in English. This is what Raymond Williams had pointed out in keywords he said that fiction has the interesting double sense of a kind of imaginative literature. So it can replace the term poetry in that sense because it refers to imaginative literature. So it could be poetry and in that sense it is an extension of a general term or can be an extension of a general term and I think that is what Potts has done and this is what we find in many of the manuals subsequently. So the term fiction to go back to Raymond Williams it has the double sense of imaginative literature and of pure sometimes deliberately deceptive invention and these senses have been in the English word from a very early period. The major development of the literary sense from the 18th century so the term dramatic fiction and then works of fiction it was in the 19th century that the term became synonymous with novels. So in some ways for our own purpose and our onward or our future discussions of short story novel etcetera we would have to keep this changing fluid nature of the term fiction in mind and see how each of the author or thinker that we are discussing how that person uses this term. So the Potts translation really quite actively uses the term fiction in his generalized sense as opposed to the generalized sense of the term poetry. Now let us go on to look at the way the structure of the ideas unfolds in Aristotle. I would read this statement from Potts and then I would begin to summarize the ideas as clearly as possible so that you are able to use them later on more critically. After he points out to begin in the proper order at the beginning the making of epics and of tragedies and also comedy and the art of the dithyrem and most flute and liar art all have this in common that they are imitations. Now this is an important part of Aristotelian point of view that the art forms they imitated reality, but I think it would it was not a mechanistic point of view they also he also indicated how it is the artist who you know modifies that a mimatic activity in order to present his or her point of view also. As he says here, but they differ from one another in three aspects the different kinds of medium in which they imitate the different objects they imitate and the different manner in which they imitate. So each one has a very different mode of imitation also we would not go into this because I think we would right away move towards the definition of tragedy and comedy and more drama oriented discussion, but I think it is very important to remember that it has wider ramifications we will not be able to discuss epic or the dithyrem or the flute and liar art at this point in time. According to Aristotel you know the two forms of drama that he identified and in fact he polarized these forms these were tragedy and comedy. Tragedy as you may already know was considered by Aristotel as high art and comedy was considered low art. It is very important to remember that Aristotel was mapping the territory as it existed in his times and the times that he reflects are quite futile and also there is a very strong sense of the social order. There is a strong sense of homogeneity also and therefore tragedy has all the attributes that are associated with the great and mighty characters and people of that time. But interestingly enough it is not an act of eulogy it is an attempt to find the limitations of their destiny their limitations of their human condition. So there are these paradoxical elements on the one hand this sense of finality with which he considered tragedy as high art and comedy as low art. This does reflect the value system of his period but on the other hand it continues to offer us very powerful insights into the failures of the great you know personages or characters or protagonists of that period. So according to Aristotel let us see what he has to say about tragedy. Tragedy that is an art form a kind of drama which is labeled as tragedy is the imitation of an action to show not tell. Now this is again a very important phrase which later on many of the practitioners of creative writing used as a mantra almost. If you remember earlier we had discussed some of the recent studies of creative writing in American academy and we also noticed that this show do not tell was almost a key element of all the teaching work that was done in some of the early phases of American creative writing schools. But this comes from Aristotel in some ways so tragedy which is a form of drama is the imitation of an action to show not tell what may happen given a set of circumstances. So in a way what he is talking about is the fact that a playwright chooses certain situations. So it is not mechanistic blind act of imitation very significant aspects of the life of the character or the protagonist or other characters are chosen because they crystallize some important aspect of that social framework. They also in a sense then reflect the rest of the social framework it does not isolate the protagonist in a very significant way. But it is through action the action that unfold what is chosen are these are actions what the protagonist did. So there is great deal of emphasis on what can be described as the external pattern of behavior. But he goes on to say that it is the function of the poet to relate what may happen what is possible according to the law of probability or necessity. This very clearly shows a very deep sense of the artistic vocation here because the poet and as I said the term poet or the term poetry is used in his generalized sense although it is also true that Greek drama especially high art was constructed in poetic format. But certainly he is also talking about the playwright. So all the literary artists so it is the function of this playwright or the literary artist to also consider the probabilities of certain actions that would unfold. In other words it is an imaginative act it is an inventive act when characters are presented in a play. It is not a direct reflection of what has happened actually in life it is an act of interpretation. So there is that very clear sense of the artistic vocation and also a lot of value associated with this act of artistic interpretation and representation. It is pointed out and now I am shifting to a website which is a teaching website and the reason I refer to this teaching website is to help you you know dip into these websites to read better. But much of the material that we are quoting is free from copyright constraints and therefore I think we are in a good position so far as this material is concerned and quotations from this material. But basically what Aristotle went on to say is related to the medium of tragedy which is drama and not narrative. He also felt that tragedy deals with universal concerns and this I want to explain in terms of what Albert Commune had said while writing Caligula and other plays in that anthology that we discussed I think in the first lecture.  So, there would be a certain sense of magnitude he felt if he followed the Greek model of tragedy and he had also considered this as a limitation all because in his own fiction he was much more experimental. However, I think it rings a bell here because when Aristotle points out that tragedy deals with the universal he is trying to sort of indicate that you know it is the protagonist and the downfall of the protagonist is also linked to certain facets of the of human nature which cut across classes and nations that is how I read it. You know when he talks about the significance of tragedy I think it is this democratic sentiment that is dominant in Aristotle's mind. He also goes on to say therefore tragedy arouses not only pity but also fear because the audience can envision themselves within this cause and effect chain. And this was again a quite deliberate intention of tragedy to evoke pity and terror in the mind and heart of the audience. After this you know Aristotle went on to you know map the structure of tragedy and one of the key elements in Aristotle and also a controversial element is related to the primacy attached to the notion of plot. And many critics have pointed out that may be related to the fact that great Greek tragedy actually also dealt with actions external action what the protagonist did and not so much on the internal life of the characters. But definitely what he had to say about plot continues to evoke many many ideas and also sense of possibility because it gives a kind of weight to artistic activity that you know continues to hold our attention today. So according to him plot is the first principle the most important feature of tragedy. For tragedy is an imitation not of men but of an action and of life and life consists in action its end is a mode of action not a quality. Now character determines men's qualities but it is by their actions that they are happy or the reverse. So this is the controversial you know point of view where character is not given as much importance as plot which means the causal external set of situations which govern the actions of the protagonist and those related to the protagonist. The most powerful elements of emotional interest in tragedy is parapetia or reversal of the situation and recognition scenes are parts of the plot the strategy is the imitation of an action. Now this again to me is a very very powerful idea where he says that the most powerful elements of emotional interest in tragedy is reversal of the situation. In other words when we look at the structure later on of the plot the Greek plot and later on the Shakespearean plot we notice that it is the sort of changing situation or you know that really is the key element of the power of tragedy that is initially a situation is chosen which crystallizes powerful sense of crisis a kind of crisis that either the protagonist or his society is facing. And then subsequently a point is reached where there is confrontation with these antagonistic forces and the protagonist changes his or her point of view and it is this transformation which then holds the you know key to how the issue is resolved. This element of transformation that is shown within the plot of a tragedy I think that is again an extremely important and vigorous part of artistic activity whether we look at drama fiction or poetry but in drama in particular it has had some very interesting ramifications. Again the sense of plot it is very important because later on you will realize that in many of the manuals of creative writing these ideas are taught and debated and even if you are a writer who wants to retain his or her spontaneity the fact still remains that you would have to sort of distance yourself from your writing in order to see whether what whatever you want to articulate it reaches the reader or not. And also in terms of your own internal process plot is not a mechanistic device it is a way of finding a structure and a core to your own very spontaneous desire to write. So in other words I hope you would not look at this terminology as something that belongs to books in the library I think these are still operative terms and they are being used and explored so stay with this with certain amount of patience because many of these ancient retises they somehow begin to create a distance between the young reader and the book or the young reader and his or her desire to write. So according to Aristotle plot must be a whole with the beginning a middle and an end this should be the sense of completeness and also this should be this unity of action should be structurally contained and poet or playwright must show his or her invention through skillful handling of traditional material. The plot must also have certain magnitude this I have already explained to you that the situation of crisis that is chosen or an experience that holds the attention of the writer is chosen with a sense that it has tremendous value for the author or the playwright. And again plots can be simple or complex this we need not worry about at this point but what he has to say about character has really led to a lot of disagreement that character has a second place in importance and I think we will leave this here right now or if you want we can just quickly look at this statement in a perfect tragedy character will support plot that is personal motivation will be intricately connected parts of the cause and effect chain of actions producing pity and fear in the audience. So here I think it sort of redeems that position by sort of suggesting that they would be very close connection between the cause and effect chain of actions and also the characters personal motivation. I think one would have to read specific text in order to see how even for Greek tragedy this works out it may not work out so very completely. In the ideal tragedy claims Aristotle the protagonist will mistakenly bring about his own downfall not because he is sinful or morally weak but because he does not know enough. There are other elements that we will only touch on briefly the other elements of tragedy are related to diction thought song or melody and spectacle but what he has to say about spectacle I do want to mention this quite categorically and I hope it would not be seen as an offensive remark because many of these performance arts festivals that one witnesses they seem like spectacles and this is what Aristotle has to say and I think one needs to heed this spectacle is the last element he points out and it is more dependent on production of spectacular effects by the art of the stage machinist then on the art of the poet. So, it is more like an external device rather than something that comes from the inner vision of the poet something that one can apply to one's own theatre practice and also evaluate if this has relevance. The end of tragedy according to Aristotle is catharsis which means purgation cleansing of the tragic emotions of pity and fear. So, in other words there was this total sense of the performative form and that Aristotle displays right from the point of the playwright to the performance to the language of the performance the script and also the audience reaction. And catharsis is again highly debated concept but the idea is that in the Greek audience definitely this was an operative notion where after watching Greek tragedy the audience felt a deep sense of release a steric release but also in some ways certain kind of spiritual come democratic release in terms of the basic democratic nature of existence. It may be useful to point out that whatever he said about tragedy in terms of his structure by and large he said about comedy but he definitely considered it inferior action and within the dramatic genres he said comedy imitates inferior action and the proper object of comic imitation is however not every sort of fault but the ridiculous which is a species of the ugly and the comic action should also contain a proper beginning middle and end. Right at the outset let me point out that this division of tragedy and comedy was dismissed by modern writers right from Ibsen onwards and you see a different blend of the tragic and the comic later on and therefore we are definitely not recommending this kind of polarization which is almost based on class differences between the notion of tragedy and comedy but what we are looking at are ideas about the creative potential of different forms and now we would also try and see how there are these contemporary interpretations of Aristotle specially in terms of manuals for creative writing I mean this is what we are interested in and so instead of looking at critical assessment or reassessment of Aristotle what we are interested are the manuals so that you can also utilize them in a proper manner for writing practice. So, I suppose you can also begin to see which of the ideas from these are the manuals three manuals are very you know invigorating for you the first study that we have selected is John Gardner's The Art of Fiction which was published in 1984 this book is designed to teach the serious beginning writer the art of fiction again the term fiction here of course it refers to novel it also refers to the short story but in a sense conceptually I think Gardner uses it in a fluid sense and it is it also refers to the imaginative literature and in that sense to fiction to drama poetry and other art forms because those are the examples he has used without looking at the distinctive nature of those forms. The book is divided into two parts part one deals with the general theory of fiction and the required craft and part two deals specifically with writing techniques and exercises and we will introduce them to you later on you know while we discuss the short story in particular so I do want to point out that I think it is the limitation of this book that it quotes number of plays classical modern but not postmodern though but at the same time he does not account for the distinctive nature of those forms and he recommends those plays as if they are meant for only reading. In terms of short story he looks at the whole range bow and fiction also in terms of the novel form he looks at whatever classical examples are available in terms of the short story and then for fiction he goes into modern and postmodern both but the postmodern is missing completely so far so far as drama is concerned. So what he has done is rather interesting because he has problematized Aristotle's theory of energy that is the actual actualization of the potential which exists in character and situation so the sense of the plot and sense of the character with the artistic intent of trying to explore the potential of that situation so he feels that this particular model is totally rejected by artists like Edgar Allan Poe especially Edgar Allan Poe's The Cask of Amanthelado it completely broke away from this sense of very neat structure of a plot with a beginning middle and end and according to him what Edgar Allan Poe did in The Cask of Amanthelado was to actually start with the end with no beginning or middle and what this did was to open up the ground of experimentation or ground for experimentation and he places Kafka's novella the metamorphosis within that same frame of reference in order to show how imaginative inventiveness governed these experiments and not just the desire for experimentation but a deep preoccupation with the times. In other words he also points out that the locus of this artistic impulse in Kafka and Edgar Allan Poe comes from the internal situations of the character rather than the sense of external action which is what the Aristotelian model is all about. I thought it may be useful at this point to read a bit from these three examples to show you how they differ in tone and tenor. For example The Cask of Amanthelado it starts with a kind of a monologue where the protagonist he describes and actually this is in flashback so he describes a very unfortunate sort of end to his friendship and also the act of revenge that he decided to take on his friend it's a horrible horrifying story but this is how it starts. The thousand injuries of Fortunato I had borne as I best could and this is the name of the friend Fortunato but when he ventured upon insult I vowed revenge you who so well know the nature of my soul will not suppose however that I gave utterance to a threat. So it starts with how he actually kills his friend in a very very brutal manner and it's a whole monologue about this failed relationship between the two friends and it purely gives the internal sense of how the protagonist viewed this failed relationship and carried deep humiliation that he suffered in this relationship. So this comes from very internal personal perceptions and has this has no great magnitude of the kind that Aristotle wanted from tragedy at all. The second piece that actually Kafka is so very famous for and there are just many many translations this particular translation it's not the one that Gardner quoted I have a different translation but again here you will see a very different sense of the surreal which comes from the inner feelings of the character and then the plot therefore becomes subsidiary the plot is not energetic that is it does not really propel you from the point of the beginning to a middle and to an end there is no clear cut resolution in this. One morning as Gregor Samsa was waking up from anxious dreams he discovered that in his bed he had been changed into a monstrous verminous bug. He lay on his armor hard back and saw as he lifted his head up a little his brown arged abdomen divided up into rigid bow like sections and so on and so forth. So again it is a very surreal piece and it is steeped in the consciousness of this particular character and of course it may have ramifications so far as the external world and is oppressive pressure on the protagonist but there is no clear cut sense of external action here. So in that sense what Gardner has done is to pick up not drama but short stories and he has pointed out that this notion of a forward moving plot doesn't really apply anymore and he goes on to point out that Aristotle's leading of plot is influenced by Greek tragedies such as Sophocles' Edipus the king which starts with an external situation a plague in Thebes and the king's dark history as yet unknown to him and then he also goes on to point out that if plot is no longer important which is the case as he has pointed out from Edgar Allen Poe onwards why should fiction have profluence our sense as we read that we are getting somewhere. So what he is actually doing is to use Aristotelian concept of plot and character but at the same time he is kind of rejecting the importance of a certain kind of plot that Aristotle had recommended but at the same time without Aristotelian reference this argument doesn't go forward because I think it may apply to certain traditional forms or certain forms that still uphold the classical pattern although they are located in the modern period. For example Camus' desire to write Caligula in the way Greek tragedies are written that is also modernist attempt. So it is not to suggest that Aristotelian ideas are completely defunct but it is very important to understand your own consciousness as you write in order to see whether you really have a sense of clarity with which you want to write and develop your plot and character or you want to discover your character. You want to discover it and then gradually let the innate sense of what you have discovered allow that to help you work out the plot which may not be the classical Aristotelian plot. Now in order to again point out how Oedipus is different and Sophocles was Aristotle's favorite playwright let me just read out a few lines from this great play where Oedipus is the protagonist and in the early part the exchanges between him and the priest the action takes place in Thebes in front of the royal palace. The main doors are directly facing the audience. There are altars beside the doors a crowd of citizens carrying branches decorated with laurel garlands and wool and led by the priest has gathered in front of the altars with some people sitting on the altar steps Oedipus enters to the palace doors and this is what he says my children latest generation born from kadmus why are you sitting here with read sticks in supplication to me while the city fills with incense chants and cries of pain and he goes on like this and then the priest and I am only reading parts of it the priest says for our city as you yourself can see is badly shaken she cannot raise her head above the depths of so much surging death disease infects fruit blossoms in our land disease infects our herds of grazing cattle makes women in labor lose their children and deadly pestilence that fiery God swoops down to blast the city emptying the house of kadmus and fills black haze with groans and howls these children and myself now sit here by your home not because we think you are equal to the gods we judge you the first of men in what happens in this life and in our interactions with the gods so in one shot the priest again is very democratic he doesn't think of edipus as the god but he is also sort of interested in finding a solution to the plague and of course the plague becomes linked to the actions of edipus as a person who has failed miserably without knowing that he had broken some very basic social rules so this is how that tragedy unfolds even the tenor of the tragedy also because it is a performative activity is very very different but Gardner clubs all of this together in order to locate the spirit and notion of plot and character in terms of a crucial artistic activity so I think one can still learn a lot from Gardner's exercises which we will take up later on I think the most redeeming part of Gardner's manual for me is this statement here he says fiction is a kind of play governed by moment by moment authentication born out of the dream-like quality of the writer's imagination in other words he realizes that there are very few rules that govern the artistic process but at the same time you know this play does require certain structure certain structure in order to become an act of communication the second book that we are interested in evaluating or briefly responding to is the art of dramatic writing and its subtitle is its basis in the creative interpretation of human motives written by Agri published in 1946 this particular book is considered a path breaking manual for teaching playwriting I have been looking for playwriting manuals and I was really quite dissatisfied till I chanced on this book as I said I have been looking for material for this course and for you in this video course so I have been looking at many recent studies and some of the forgotten old gems also this particular study is not a forgotten study but at the same time one gets the impression that it has not really received due attention in terms of creative writing practice in the West where they all you know they choose fiction centric books most of the time but this does form the basis this manual does form the basis for writing for television in fact there is a chapter devoted to television in this book but also later on for cinema studies this book has been used and also for teaching fiction but without actually accounting for the actual original ideas that is my impression as a briefly refer to only chapter 6 later on we will discuss many other ideas from this book and this is interestingly enough title plot or character so this book deals with playwriting and Aristotle also while talking about tragedy and comedies with drama where you show and don't tell but here again the question looms large plot or character which and he points out very clearly that Aristotle made a basic error in pointing out that character is subsidiary to action and also he pointed out that perhaps one could look at this notion of character in terms of its significance while looking at a quotation from William Archer but before that I think very clearly I think this study is based on modernist sense of individualism also and the sort of new sense of the self that the modern period allowed for human beings to explore there are lots of complicated reasons here but he points out that Aristotle made this basic error and also he places another idea about character by way of his open-ended quality by quoting Archer he says to reproduce character can neither be acquired nor regulated by theoretical considerations and at the same time the Aristotelian viewpoint regarding the structure and spirit of writing is explored not only in this manuals but in many other important manuals so character remains a much more dominant idea because actually the individual is up against lot of adverse and new fast changing situations and right from the modern times onwards the character becomes a very very gripping aspect of literary creativity finally we would end this session with reference to Brinda Laurel's computers as theatre and it is more by way of giving an assignment to our science and technology students I myself can't claim that I understand computers so well but what Laurel has again done is to build on Aristotle's analysis of the form and structure of drama and its relevance for human computer interaction especially with reference to designing games and she says when we look toward what is known about the nature of interaction why not turn to those who manage it best to those from the world of drama of stage of the theatre and she goes on to use another study of Aristotelian plot structure from Freitag the German novelist and playwright who developed this very structural approach to Aristotle by working out this pattern on Horace actually with Aristotle promoted the three act division of a play whereas Freitag talks about the five act division but definitely this structural approach we right now don't want to really go into it very much but it talks about the incentive moment the complication rising action the climax crisis reversal and then the denouement or falling action and the end or resolution of a play so it gives the totality of this artistic upheaval and also the you know sense of how in creative acts we try to capture the amorphous problematic and open-ended quality of life and temporarily through these activities we are able to give a sense of clarity and therefore I think what we would do is to also point out that Laurel doesn't stay with only the Freitag model she goes on to recognize that contemporary versions of Freitag's triangle are more irregular and jagged reflecting the differing patterns of complication and resolution and finally what we feel is this desire to problematize this interface issue whether drama can be clubbed with video games because drama is other centric as 6u has pointed out and it has plurality presence participation potential for transformation whereas as a sort of non-expert of computer science and computer internet related activities I feel that the video games and virtual reality is person centric and may perform a limited cathartic or transformatory function this is to provoke discussion and I hope you would undertake subsequent exercises and examine the ideas that we have presented before you and bring some clarity to our own understanding which may be a traditionalist print oriented understanding and so drama may be relevant for the interface between humans and computers I would like to find that out and if I my students respond to this idea and this study I will report back their findings to you or they will come and speak to you themselves so that's how we would like to end this session do enjoy it think about it and dip into some of the work if you can by reading one or two books in greater detail thank you very much.


What is going on guys welcome back to the channel critical over Lord hearsings about Jeepers Creepers 4 again Jeepers Creepers We're born this image you see here on your screen comes with us from dinner the dead hot sauce who we know I've talked about him in another video he had some type of participation with the production of Jeepers Creepers we're born and Some type of stand hit they had set up at the whorehound festival that they have on display for the film He has like a hot sauce that he's patented and started selling Inspired by the film I believe as well So he shared a couple behind-the-scenes images from when he was on set in the very first image in that collection of photos was this Better look at the new creeper design. I'll say the Ivan ooze jokes are coming through the best joke by far. I Heard was from Cody leech when he said that this looks like the hammer from 13 ghosts just to be more specific I would say this looks like that this looks like the hammer from 13 ghosts during his retirement years But it is important to again remember that we need to have the appropriate context Before we actually say that you know the creeper design the new one is complete trash Of course, you could still prefer the old makeup, but you know with the proper context Who knows how this could ultimately look in a in a trailer. He also shared this image of Lane on a I'm gonna assume this would be on the creepers work table in the new house of pain with the creeper again This is being being portrayed by Jaira Benjamin this time around Jonathan Breck was unfortunately replaced But hopefully Jaira Benjamin Brings his own unique spin on the character while still I guess just keeping the character very menacing and terrifying in nature So whatever's going on in this scene I would hope is not involved in any type of ritual or anything Maybe it's prior to the creeper about to cut out whatever part it wants from Lane Then they break in and save her maybe something like that would chase him his Other group of people that come together with him So this was an image that came out from a email alert that we all got this was like a first official steal They announced that they'll be having some Images coming out in the horror horror how magazines over the coming months or weeks of new issues until the film releases The the one thing I would say that stands out here in this image of chasing Lane at the event is in the background As you see it zooming in that image of the screaming face That resembles a shot that you see in the trailer of or of the teaser that we got of Lane screaming as well It's kind of like foreshadowing of what's to come being depicted there in that image So Those are all the images. I wanted to talk about or show you so far before I started sharing again My in-depth thoughts on that new creeper design. So the new creeper design.  They're all still hilarious But it's important to remember that while we may not like the new design I would still say that you need to wait for the appropriate context the the CGI of course for one The lighting how are they going to actually display this on screen? Because I think in the past in another video I actually did show you a better image of what was a more finalized Look, I guess of the creeper design as well. So that was an image of Dean's Time on set prior to all the final touches being applied and again We still have not seen the creeper with all the other added effects the CGI all that stuff that we know Jason Raymond has provided an update on saying that that should be done by the end of the month of January So given how it actually appears on screen will have to wait to see how it looks in an official Trailer they release or an official official still that they decided to release. Hopefully as well showing us the creeper Maybe with the appropriate lighting like I said before just the context and all that stuff is still is still very much Important to how menacing this can actually look on screen. I still yes Would say I am in the in the in the band of preferring Jonathan Breck's Makeup design that he had but of course I would imagine if Jonathan Breck actually was was to be brought back This is the makeup. They would have gone with you We probably still would have said we prefer the old one But probably a little bit more faith in it since Jonathan Breck is the one portraying it So I think you know with a new actor That's also kind of where a lot of people are like on the fence about it So we have to wait and see how it actually comes out in the finished product In-screen or on-screen with all the added special effects that were being done during post-production so the Seen that the other image again with Lane on the table. I'm I'm hoping that is not gonna be involving any type of Magical ritual or something like that. We know the creeper has like telekinesis powers and We know that's like the only thing that they've shown us so far as far as like anything going beyond The apparent supernatural that we already know with the creeper in and of itself existing It has some telekinesis powers we saw them on display in the third film We saw a tease of it in the second film, but in the third film, it was like front and center The budget of the third film made a lot of it come off as very cartoony and just goofy So if they bring that stuff back The vibe and the the tone of this film and what they're working with here versus what was Available to them with the third movie if they bring that telekinesis or any more magical stuff into the mix You know, maybe it comes off better this time around versus with a versus with the third film Which was a complete let down a complete train wreck honestly Now to those of you who say that the third movie also has redeeming qualities Please I'm willing to be convinced and just let me know what those redeeming qualities are Other than Jonathan Brick who knocked it out of the park once again So that's really what I want to talk about with Jeepers Creepers for this time around Hopefully we'll get some more official stills in the coming weeks from whorehound and just from that Jeepers Creepers Email that you can subscribe to if you go to 23rd day calm I believe if that website is still up I think it still is and you subscribe to the newsletter and you'll get those alerts about those exclusive images That I guess we will expect to be seen in the coming weeks as they ramp up the marketing the other thing that I was informed of by a person who is Friends I guess with someone who worked on the film is that the movie seems to be coming along together in terms of them finding putting together the final touches and the Only thing now we're waiting on of course will be to figuring out what release dates are we gonna get? What are the release dates gonna be? I know I've talked about February for Germany April for Australia The states though is the for a lot of you who watch me who are in the states like myself I don't have a date for the states. There's no date that I've seen floating around out there I know Australia is for April Germany seems to be February apparently so hopefully over the coming weeks We'll get some official stills will get to get a better look at the Creeper And hopefully all of the worries that you have will be put to bed Or maybe they'll be heightened by an atrocious look at the Creeper Just something about this movie. I would say I feel that they are gonna do be Right behind the second film better than the third I would hate for us to just have a very very decently made movie But within the troll shits and off-putting creeper design. I know that will be the worst You still say it's better than three but the creeper design kind of just takes you out of it I hope that's not the case But let me know what you guys think about all this down in the comment section below if you haven't already of course make Subscribe turn on post location in there miss a video in the description I have links in my social media accounts on Facebook Twitter and Instagram you can message me there Of course limiters any movies news or reviews you like me to cover in the future with all that in my guys I will see you in the next video


The Cube at EMC World 2014 is brought to you by EMC. Redefine VCE, innovating the world's first converged infrastructure solution for private cloud computing. Brocade, say goodbye to the status quo and hello to Brocade. Okay, welcome back everyone here live at EMC World in Las Vegas. This is the Cube, our flagship program where we go out to the events and extract the signal from the noise. I'm John Furrier, the founder of SiliconANGLE. I'm Joe Mike, co-host, Dave Vellante, co-founder of wikibon.org. Our next guest is Sal DiSimone, VP and CTO of EMC's Advanced Software Division. Welcome to the Cube. Thank you, happy to be here. Glad to be back. Great to see you, welcome back. And obviously Joe Chuchy put a lot of pressure on you. He said the software driven enterprise, software led enterprise is all about the future. So what do you mean by that? Just want you to give us your definition of software led, software defined. I mean, part of what we're recognizing is the fundamental changes and shifts to the way people want to consume, deploy and use IT. And so a big key to that is to be able to bring the convenience and the simplicity and the economics that people like with public cloud but be able to deliver it in such a way that people can have it on their own premise in full control under their security. So kind of bring the best of both worlds. And a key enabler to all of that is to be able to deliver this infrastructure in a much more efficient than agile manner. And that leads towards software based solutions where more of the configuration, more of the function is in software that's easy to configure and easy to tune and less of it is in super, super specialized. Explain to the folks, what does the Advanced Software Division do at EMC? Because Joe Chuchy also explained the innovation strategy was M&A and organic R&D. Are you in that R&D piece? Are you by the product portfolio? What, just to quickly explain the Advanced Software Division. So it's actually a combination. So the Advanced Software Divisions Charter within EMC is to define the software defined strategy for EMC. We have several products that fall under our division. We have obviously Viper, the whole software defined storage portfolio. We have the new elastic cloud appliance, storage appliance. We also have EMC's existing object storage systems Atmos and Centera. And all of our storage resource management and network and data center management products all brought together to kind of help solve the problem. So I got to ask kind of a, I guess a generic open but I guess complicated question is EMC talks about best of breed, nice product portfolio low end, mid range, flagship, the normal stuff, but best of breed is what Goulden talks about. But yet scale out open source is disrupting horizontally those known silos. How do you look at that disruptive force? Obviously commodity hardware is changing the game. We heard Jeremy Burton saying, hey, we think software is going to be all the action. So you're in the software advanced group. You look at that trend coming down main street tech land. What do you, how do you guys prepare? What are you guys doing differently? So first of all, we think we're really well positioned to be successful in this software defined world. We've actually started a lot of these efforts several years ago. So it's not like we just woke up yesterday and are trying to kind of figure out what to do. So I don't think the open source, the software on commodity necessarily changes any of the best of breed because at the end of the day, you still need- So you're saying best of breed can exist, co-exist with the disruption? Even within the open source software on commodity marketplace, there's going to be better implementations than others with different characteristics, different price points, simpler to manage, harder to manage, higher performance, lower performance. When you're going to run different workloads, you need different characteristics in your storage system. So the fundamental physics aren't changing with software and the need to build systems that are engineered well is not changing. So even within the software world, there's going to be a large variety of software systems optimized for different price points for different workloads. So in that regard, it's not really fundamentally changing. So I was talking to a big bank the other day with some practitioners I was speaking to, gave my speech, a guy comes up to me afterwards, huge bank, one of the top banks in the world, and said, I want to talk to you about Viper. He said, oh, cool, great. I always want to talk to a customer about some new stuff. And he said, what I really want is an open source object store that really goes fast. He goes, but I can't get one. So really looking at, we started looking at Viper and it looks good. Some things, we're not quite there, but now 2.0 has been announced. And then I said, okay, what's driving it? And he said two things. One is simplicity and the other is basically simplicity. So we think this is the future is what he said. But at the same time, we want a way to consolidate all the different platforms that we have in the organization. Are those the two big drivers that you're seeing? Is there one that outweighs the other? Is this the future of the storage business? Is this a way to consolidate the stovepipes or is it both? Both. And if we go back to last year when we announced the Viper strategy, there were really two different objectives that we had. One was for people within existing storage estate, let's provide mechanisms that help them operate that in a much more efficient way. Essentially allow them to apply a cloud operating model to the gear they have. It's not about buying a new storage system, not about fork lifting, it's the stuff you have. Let's give you ways to operate that more efficiently from a capacity, from a migration, from a provisioning. So that's one aspect which touches. The second thing that we're trying to solve with Viper though also is to build the next generation storage stack. Designed from the ground up with these cloud and third platform properties, built in software, designed to be elastic, designed to be scalable, designed to do this and not sacrifice performance, not sacrifice geo protection and these other capabilities. And actually do those in a way that we provide our customers a bridge from where they are today to where they want to get to. And I think EMC as a company is uniquely positioned to actually bring customers along. So Sal, so help me understand this. So you've got some, you're building a stack, right? And it takes a long time to build a stack and get it functional and robust. But you've got some native, HDFS for example, you know, object store. And then as well you accommodate existing EMC and other platforms. So we're going to have Brian Gallagher on tomorrow but I remember he answered this question at one point and he's very open. You know, he's like embraces Viper.  And your job is to catch up to him in a way. Isn't it? It's on the software side. It's to accommodate him, but at the same time, yeah, but that's my question is, are you building out a stack of comparable functionality that might take a decade, that ultimately will be pure software? Or should we think about this differently, that no, you're going to always have to have a box to get that function, that latest, greatest function? So I think, let me answer it in two different ways. So again, going back to the kind of fundamental architectural separation of the control plane from the data plane, which is one of these fundamental principles that we came with Viper. There's a lot of storage systems that have capabilities that are unique to those that serve a very specific purpose and are tailor made. If you have enterprise apps with relational databases and you want massive throughput and you want a tank that will never get, Vmax is what you should do. And it'll be a long time before any kind of software based system running on random commodity can compete to that with those characteristics. Now there's other workloads that you don't need the tank and you don't need that you could do with something. So there'll always be this mixture of platforms with important characteristics. So for customers with a corpus of existing storage on existing arrays, and as those arrays evolve in the future, we have Viper as a control plane that can bring automation. I mean Vmax is not the simplest device to manage. It's got a lot of sophisticated features, but it's fairly complex. So in a Vmax world, Viper brings a significant amount of automation and plugging into the various cloud stacks that makes Vmax sort of simpler to operate. So there's a lot of value Viper brings into Vmax. On the software side, we are trying to build out the next generation. There are workloads where those stacks are useful today. These stacks will evolve. The data services in those stacks will evolve over time and we'll see how it plays out. But in the Goulden workload slide, what you just described covers a lot of that space.  Isn't it? Yeah, yeah. Okay, so you mentioned Vmax as an example. That's kind of an edge application for you guys. What else don't you touch? What else won't you drive a truck through in the next 10 years? It seems to me like you're very well positioned to knock down a lot of those workloads. Yeah, I mean, we want to be the state of the art best software based stack that drives EMC into the next generation. So I want to make sure I'm thinking about this right. You separate the control plane, the data plane, which is the fundamental concept that you put forth last year at EMC world. But then within the data plane, there's still a strong connection today between the hardware and the stack. Right, but now as we grow and mature our software stack, and that the fact that we now support running the software stack on commodity hardware, we're starting to expand the choice that customers have. And that is the future of storage as you see it. Is that fair? Yeah. I don't want to put words in your mouth, but essentially that stack running on commodity hardware. Awesome. Okay, so playing through me to just between scale IO, vSAN, and Viper real quick. Because Viper's more of a broker across the platform, right? I'm just trying to, you brought up that earlier. So like, how do I, the customer wants to look at scale IO, vSAN, and Viper? Let's take scale IO and Viper. So again, Viper is two different pieces. There's a Viper control plane, which is all the automation orchestration. There's the Viper data plane, which we had originally object in HDFS data services. There's now Viper block software based data service, which is scale IO. Scale IO is the implementation of Viper block data service. Scale IO is a block implementation in Viper. In Viper, for software data plane. Now scale IO and vSAN are really fundamentally trying to solve the same problem, which is how do you build a server-based SAN? Take a bunch of servers with disks, ethernet connections, and basically pool and aggregate these, and turn these Linux nodes with disks into, or not Linux in the case of vSAN, if the effects, but turn commodity nodes into a shared pool. So at some fundamental conceptual level, they're the same. And from an implementation, they're very different because the starting points were different. With vSAN, it's very ESX, vCenter focused, very tight coupling and integration into the VMware stack, which is very nice. The scale IO Viper block point, we're looking at storage as a horizontal. So this kind of server-SAN, not just for VMware, but for VMware. So can you geo-distribute HDFS and block and protect it? Yes. And object. And object. And object, all right. That was a good, yes, and I think. So also object, HDFS, geo-block. And block, all geo-distributed and protected. Yes. On Viper. Yes. Now, the interesting thing about geo is a whole topic. We can talk about it. But when we look at the innovations and the truckload of patents that we're filing around Viper, our geo-implementation, we feel, is state-of-the-art and kind of leapfrogs, where any other comparable solution is. Because with geo, there's always two competing forces. Big trade-offs. Big trade-offs, always, right? It's like, do I have local access to data for fast access? Yeah. But then how much storage capacity am I using globally to achieve that, right? So you have schemes on one end, I have five sites, I have five copies of the data. In each site, I get very fast local access, but it's 5x overhead. There's the other extreme where you have geo-erasure-coding-type schemes where- Very efficient. Very efficient, but I got to stitch together these objects in slow. And so some of the breakthroughs we've made in Viper is to kind of bring the best to both worlds. And we have some unique intellectual property that we've developed, which uses a combination of local erasure-coding and geo-compaction algorithms, which are brand new, which allow us to do, for say, five sites, the overall storage overhead, 1.67, so close to erasure-coding, yet every site has a full local copy of its data, no WAN traffic. So that's really amazing that we can do those two things. And this is one of the reasons when you asked about, well, you know, storage software on commodity, everything's equal, everything's not equal, right? Because we have some of these capabilities that are unique intellectual property that we bring that other software-based things running on commodity stuff. So you can still differentiate in this open-scale-out commodity gear. Absolutely. So clients want to play with some scale-out low-cost gear you guys can drop into, like, building block. We can do that, and we can provide them with geo-distributed, active-active, object, HDFS access to the same, I mean, there's a whole bunch of capabilities that we bring to the table that are unique. The object in HDFS to geo is pretty cool. To geo-distributed. It's very cool. We got to talk about the cloud in the box, the elastic cloud storage appliance. Right. You got software division. You sell them boxes? So we can't help ourselves, right? No, but actually, if you- Is it a box as a service? Is it in the cloud? No, no, it's a box. Okay. You can install it. So you can duplicate the cloud. So we have a whole spectrum of customers who want to run storage software on commodity. Some want to buy software, buy their own hardware, and build things. Others are not interested in building science projects. They want the convenience and the TCO of software on commodity, but they would prefer to buy a system. So what we've done is give people choice. It's the same Viper software running on commodity hardware. Your choice, whether it's on ECS appliances or your own, you can mix and match in a given deployment. So we're just giving customers more and more choice. And is it really, what is it, 28 to 30% cheaper than public cloud? That's a point in time. Is that 2G math? No, no, no, this is actually NG math. And when we do those computations, it isn't just the capital cost, but it also brings into what's your power cost, what's your admin cost, what's your cooling cost. So it's a really a TCO measurement because when people go to public cloud, they don't need data centers, they don't need- It's a service, it's a line item. So we're comparing apples to apples in that regard and we are highly competitive. And from a feature set, we have a differentiated set of data servers, active, active, GEO, all these functions, which really have our stack leapfrog what these public cloud- And the demand, am I right, is coming from organizations that essentially want to duplicate public cloud capabilities, flexibility, economics- Public cloud economics and convenience. But they don't want to go off-site. Yeah, they want choice. And I think we're beginning to offer some solutions that give people those choices. So we're very excited. Thanks for coming on theCUBE. We really appreciate it. I want to give you the final word. Share with the folks out there why this year is so important for you guys. What's going on right now that is such a game changer and why is it so important? I mean, so from an overall EMC perspective, we came out last year and announced Viper as our strategy. We hadn't announced any product yet. So there's a lot of skepticism. Well, as EMC is a hardware guys. So we went through last year, we released Viper when we said the first version. Now we're coming out with the second version. And I think this is really important because as we hit each of these releases, customers begin to triangulate. Not just what we say, but what we're actually delivering. And as we get multiple releases with greater and greater expanded functionality, hey, people can start to draw this curve and triangulate and say, hey, these guys might actually pull it off. So I think this is a very important year for us to bring these new products that are highly differentiated, very strong TCO, and basically prove to the marketplace that the EMC hardware guys really know what the heck they're doing when it comes to storage software. Well, Sal, CTO, EMC Advanced, so thank you for coming to us. This is theCUBE. We'll be right back with our next guest live in Las Vegas for EMC World 2014. We'll be right back.


First of all, diamond. In diamond, each carbon atom forms single bonds to four other carbon atoms, and the four bonds are arranged in a tetrahedral geometry. This is just like the methane molecule, except that in methane, the carbon bonded to four hydrogen atoms. Since hydrogen atoms can only form one bond, they represent a dead end. But when a carbon atom bonds to another carbon atom, that second one can bond to another three atoms, and they can each bond to another three and so on. As long as you have atoms, the molecule, or lattice, can keep on growing. So when many carbon atoms bond together in this formation, the result is a three-dimensional lattice held together by covalent bonds. We call this kind of covalent structure one that can be extended in all directions like a lattice, covalent network bonding. This is what makes diamonds so hard and so strong. A single diamond crystal is in effect a giant molecule, and in order to break it, you must break the covalent bonds between many carbon atoms. This is in contrast to, say, ice, which is made up of many separate water molecules. When you shatter an ice cube, you're merely separating the molecules from each other. You're not breaking the covalent bonds that hold the molecules together. Like most covalent compounds, diamond doesn't conduct electricity because the pairs, the electron pairs, are confined within the covalent bonds, and they can't move through the compound. Recall the difference with conductive metals, which have the delocalized valence electrons that can move through the lattice of positive metal ions, and thus conduct electricity. Graphite is another well-known allotrope of carbon, and it has a more complex structure. The bonding in graphite is a bit like the bonding in ethene. Each carbon atom bonds to three other carbon atoms using two single bonds and one double bond. The result of this is a continuous lattice of flat hexagons with alternating single and double bonds. Each lattice is a flat single sheet, only one carbon atom thick, and each layer is quite strong for its thickness because, like diamond, it's held together by covalent bonds. These 2D sheets of carbon can stack on top of one another to form the grey solid that we're familiar with, but neighbouring sheets are stuck together only by very weak attractions called van der Waals forces, and we're going to explore these more in semester two as well. There are no covalent bonds that tie the separate sheets together, only these weak attractions. So this means that the sheets can be separated from each other quite easily, and this is exactly what happens when you drag the tip of a pencil across some paper. Sheets of graphite are sheared off from the main lump and stick to the paper. In addition, there's something else about this bonding arrangement that gives graphite special properties. The pattern of single and double bonds in graphite is not fixed but can alternate, so that single becomes double and double becomes single. This means that the extra electrons that form these alternating single and double bonds are essentially able to move through the 2D lattice, and that means that graphite is conductive.