My name is Aaron Dworkin. I serve as Dean of the School of Music, Theatre, and Dance here at the University of Michigan. First, I would just like to share our appreciation again to Reverend Jackson for joining us as we celebrate your legacy and commitment to civil rights for more than 50 years. Thank you again so much. As we get set up here, I just wanted to share when Dean Collins shared with me her desire that the performing arts and its role in the civil rights movement serve as an important part of this symposium, I was moved and filled with excitement for the opportunity that our students would have to demonstrate some of the ways in which the arts can help us shape a better society. The reality is that the arts have played a pivotal role in social justice movements from the very beginning. Frederick Douglass, the great orator, statesman, freedom fighter, leading the abolitionist movement played the violin as well as his son and his grandson Joseph Douglass was the first black violinist to tour nationally and internationally. Frederick Douglass believed all fully emancipated, civilized men should understand music. To that end, he taught himself to play the violin, which served an important role in his life and which is why you will find his violin atop his desk at the Frederick Douglass Museum in D.C. Martin Luther King Jr. and many others in the civil rights movement grew up with a piano and the performing arts in their homes. Martin and Coretta met at a music school where she was studying voice and violin. Dr. King shared at a speech he gave in 1964 in Berlin Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls. Much of the power of our freedom movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down. For in the particular struggle of the Negro in America, there is something akin to the universal struggle of modern man. For over 50 years, Reverend Jackson has been at the forefront of these issues. Of the great Mahalia Jackson, you stated that's where the power comes from. When there is no gap between what you say and who you are, what you say and what you believe. When you can express that in song, it is all the more powerful. It is now my honor to welcome to the stage a number of our talented SMTD students and faculty who will depict the values and ignite the emotions of the civil rights movement through song, dance, drama, and instrumental music. Each artist and performance will be individually introduced by Justin Gordon, who is an LSNA student minoring in global theater and ethnic studies. Ladies and gentlemen, please join me in welcoming Mr. Gordon to the stage. Good afternoon. Good afternoon, everybody. Good afternoon. Good afternoon. I am humbled and grateful to be here and I'd like to speak on behalf of all of my family in the room, personally to Reverend Jackson and say that after your remarks today and your presence here on campus, I respect and reverence for you and your legacy has deepened even more. And I just want to give a humble thank you to begin this serenade of music and performance for you. And he, his message has inspired us to be able to say all around the world together. We are going to say it together. I am somebody. I said I am somebody. Thank you, Reverend Jackson. I appreciate you. I'd like to first introduce Mr. Jordan Samuels. He is a musical theater student and a baritone vocalist and his accompaniment would be from Professor Jason DeBoer. He will be singing the song Make Them Hear You from the musical Ragtime. The original singer and performer of this song is Brian Stokes Mitchell. And in the musical, it was the song was sung by the protagonist named Cole House Walker, Jr. And he was a successful black pianist who started a riot and revolt after his wife was shot down by murderous policemen only after trying to shake the hand of them president, Theodore Roosevelt. Ladies and gentlemen, please, Mr. Samuels. I could not put down my sword when justice was my right.  Make them hear you make them hear them in our struggle. We were not the only ones make them hear you. Make them hear you. Your sword can be a sermon or the power of the pen. Teach every child to raise his voice and then my brothers then will justice be demanded by 10 million righteous men. Make them hear you when they hear you open your. Jordan Samuels, please. Now, some people sing songs. That man just sang that song right there. Next, I'd like to present to you an excerpt from the Documentary Love, Life and Loss, which features the song Seven Last Words of the Unarmed, originally composed by Joel Thompson and will be performed by the University of Michigan Men's Glee Club under the direction of Mr. Eugene Rogers, Associate Chair of Choirs and the Professor of Conducting here at RSD University. Please enjoy. Should do more than entertain. Great art should connect you to things that are going on today. I wanted to process my own feelings about being a young black man in this very racially tense time and also to to do something about it. I remember making a very purposeful decision like I need to say something with this art. I need to provide healing with this art. The Seven Last Words is a multi-movement work that features the last words of African American men who've lost their lives before their time. Music is a good outlet to really tell a story and I think that's what we're doing here with these pieces. We're really telling a story and to have the perspective of the people that were lost. The Michigan Men's Glee Club is one of the oldest choral organizations in the United States. The Seven Last Words is a good fit for the Glee Club because of how diverse the choir is. Having people of various races singing the words of this struggle is very meaningful to me and very moving to me to see people connecting with the pain. This piece purposefully is very shocking and it is meant to inspire our reaction. I don't think great art should always make us feel comfortable. It's easy to get wrapped up in anger but I feel a lot more needs to be focused on honoring their lives. Now more than ever do we need art to create sincere dialogue between disparate groups. That's the point of really truly great art is we're trying to inspire that conversation. It's not about a color of your skin. It's not about the type of person you are. It's really about life. It doesn't matter what the nature of the law says because it is tragic no matter who it happens to. As we focus on love life and loss regardless of one's political opinion we can all agree on the value of human life. I'd like to now with my personal pledges bring to the stage a super soprano vocalist Ms. Kayla Hill. She'll be accompanied today by Mr. Joshua Marzan and she'll be singing a song called Mistral Man by Margaret Bind which is one song in a set of three called The Three Dream Portraits. These set of songs were accompanied with text from poems of the late the great Langston Hughes. This song in particular personifies a mindset of a menstrual performer while always having to continuously have a joyous exterior while struggling and wrestling with inner turmoil that structural racism always brings. Please welcome Ms. Kayla Hill to the stage. Is anyone else just absolutely floored by that performance? Man oh my I'm from the west side of Detroit Michigan and we don't get a lot of opera singing the first time I ever heard anyone personally sing opera was three weeks ago during the practice and well my whole perception during singing has changed ever since I heard Ms. Hill's voice. One more time for Ms. Hill. This next program and the leader of this program deals with a certain demographic that we forget about. A certain demographic that sometimes does not get the resources that they were entitled to as citizens and they were taken away technically by the 13th Amendment. I'm speaking to the Institute of Prisons in the prison industrial complex and the prison curator of arts project who was fighting against those inhumane practices that are happening behind those walls but to our brothers and sisters the prison curator of arts project which will you will see here in a film presentation and subsequently after the film presentation the director herself will come and give a scene of her play doing time behind the visiting glass. I'll allow you to learn and see what fighting for lives really looks like when you can't physically touch someone. Thank you. My students and I are here for a theater exchange program with Winnihio which is the federal university in Rio de Janeiro. We are a program at the University of Michigan called the Prison Creative Arts Project or PCAP and we do theater work in prisons with adults and children throughout the state of Michigan. Here in Rio we have collaborators who do incredible theater for social change work in hospitals prisons and favelas. This theater is a space that is a safe space in which particular issues of those communities can arise, that they can put their own opinions, that they can create from their reality and recreate their reality. So in fact I think the heart of this work is in open spaces so that the voice of these people is heard or is offered. In Brazil theater is of the people for the people. This is a very Latin American tradition it doesn't just belong to Brazil but when my students come here they realize that theater can happen in many different ways that they had not previously imagined and that theater has many different practical roles in people's lives. Really high quality professional theater can happen in a cramped waiting room of the hospital where the actors have this much room to do a whole play and it can be marvelous. My brother is an artist. He draws and paints but mostly he does graffiti. Right now he's doing seven years for graffiti. Imagine seven years of your life for a crime where nobody got hurt. Who's it helping for him to be in prison? The guy whose wall he wrote on. Would have helped that guy more if they gave him community service and made him clean up the pinch of wall.  So when we was kids we took this trip to El Paso and we saw this mural that said God is Mexican. And Danny my brother loved that. When we got back to Phoenix he started going everywhere writing it on all the walls. God is a Chicana. Dios es un mojado. God comes from the barrio. God hangs out at Titos. He didn't just paint the words. He made them beautiful.  So we were Catholic and we went to church on Sundays and prayed like everybody else but during the rest of the week Amma would talk to God like he was her compadre or something.  And then she'd have to apologize because he's God, right? So she'd say something like perdóname Diosito pero I was angry with Jew this morning for sending rain on the day of Lolita's First Communion. But then I realized that Jew sent the bad weather on purpose so that it would blow Doña Violeta's ugly dress over her head on the steps of the church to punish her for being una vieja chismosa. Now that your plan has been revealed to me I want to say how sorry I am for yelling at you this morning and for eating that extra communion wafer durante la misa porque tenía hambre. Pero ya no quiero hablar más de eso. So this was my mother, right? We heard this all day long and then my brother, well he'd been hanging out with all these guys, right?  So we started going to all those places where he used to write God is an undocumented immigrant and God dances cumbias. And he started writing his friend's names instead. Aldo Gutierrez is in prison. Israel Sien Fuegos is in prison. Freddie Ramirez is in prison. Today the cops caught him. He was writing Leo Archuleta is in prison. God is with him. God is a prisoner. He tried to run when he saw the cops but they caught him and three of them beat him until he had a concussion and they broke his right hand. So are you alright so good? No more. And after that I must stop talking to God for a week and now Danny, he writes us letters and this real shaky handwriting and at the bottom underneath his signature he always writes God is a prisoner. I am honored to say that Dr. Ashley Lucas is my mentor and arguably the greatest human being I personally know and if you don't know who she is uh as the late great contemporary poet Christopher Wallace aka Biggie Small said if you don't know now you know students. Next I'd like to present an excerpt from a moving dance piece called City of Rain created by Camille A. Brown and performed by U of M dance majors and masters of fine arts candidates. This film moving dance piece represents the spirit of perseverance in the face of struggle, loss, and grief. Please enjoy. If I could dance like that I wouldn't be a pair talking to you all right now. I just moved for a living. That was amazing. That was amazing. Now we're almost at our conclusion and we have had some triumph. We have had some encouraging words. We got to end with some jazz right? We got to end with some music correct? Yes, yes. I'm proud to present a jazz quartet for the ages. We got Cassin Belgrave on saxophone every read on drums, Brian Jarez on bass, and David Lazar on trumpet. They'll be playing well. A song by Bud Powell. He was a great jazz pianist back in the 40s and 50s that battled police brutality and racism despite making classic music. Afterwards they'll play a song called Cyclic Episode. Now as all good parties go and all good celebrations go, we got to give you something to leave with, something to go home with. We got to send Reverend Jackson Jackson home on a good note, on a great note, even as he walks outside of the door, correct? All right. We have one of our esteemed professors and musicians. Tiffany Ng will be playing on the carillon out in the bell tower. She will be playing Negro spirituals as we leave as you walk to your cars or buses. Songs such as Swing Low, Sweet Chariot, and the Black National Anthem, lift every voice and sing. Ladies and gentlemen, that is my time. I love you all, family. Hope to see you soon. Thank you.


So, today for you in this hall in the early morning will be something that will make you feel things about things that are not in the three-dimensional or six-dimensional space that you see or that you can touch. And our first speaker today will tell you about how to evoke emotions with or to kind of sculpture art from things that are maybe not nothing more than thin air but that will nevertheless touch you. The first talk today is called Visceral Systems, approaches to working with sound and network data transmission as a sculptural medium. And our talker today, first talker is Sarah Grant, give a warm round of applause for Sarah. Thank you. So, yeah, good morning. Thank you for the introduction. Thank you for having me here at CCC. I'm really excited to give this talk. It's something I've been thinking about for a long time and I'm happy to present it to you this morning. And also, thank you for coming here. I know that 1130 is quite early for a morning at CCC. So, yeah. My name is Sarah Grant. I'm a media artist and an educator. I'm part of the Weiseseben studio in Berlin. And I'm interested in systems, radio waves, computer networks, and also sculpture. I have an arts practice with networking technology as my medium and also a teaching practice that works to promote internet literacy, cracking open this black box that we know of as the cloud, bringing awareness that there are alternatives to commercial providers if we want to, for example, simply host our own website or run our own community network. And I think it's a vital importance to have a basic understanding of how the internet works so that we ourselves can be creators and not just passive consumers of the internet. And not only that, so that we're equipped to be critical of it because you can't really be critical of something if you don't know how it works or you don't know what's behind the facade. So actually, to that point, I also organize a conference called Radical Networks in Brooklyn, New York with my colleague Erika Cormani. It's a four-day event that has talks, workshops, and an exhibition featuring critical investigations and applications of internet and radio technology. So the spirit of the event is to give beginners and the community a safe space to come learn about and discuss issues such as surveillance, ownership of personal data, and to, again, dismantle this opaque notion of the cloud. But today I want to talk about something pretty abstract, something that I've spent a long time thinking about and actually feeling, but I've only recently started publicly talking about this idea of visceral systems as applied to sound composition and computer networks, and to sort of unpack that, I want to do it within the following framework of first giving a bit of my background to some of my past influences and also therefore explaining my relationship to sound and networking technology. But first I need to offer some definitions just to lay a groundwork with the caveat that I'm going to be bending these definitions quite a bit. So the first is this term visceral, from medicine that visceral referring to the viscera, the internal organs of the body, specifically those within the chest as the heart or lungs or the abdomen as the liver, pancreas, or intestines, in a figurative sense something visceral is felt deep down, it's a gut feeling. And then this idea or the definition of what a system is from Oxford, a set of things working from Oxford dictionary, a set of things working together as parts of a mechanism or an interconnecting network, a complex whole. So while a visceral system usually refers to the system of the body, I'm bending the term to me a system which evokes a visceral feeling, feelings of textures, colors, dimension, mass, to both sound compositions and communication systems, two systems that I actually didn't intentionally choose to work with in order to explore these concepts, but more I just noticed I felt these things in relation to these systems, so they kind of chose me. So to explain maybe how I got here, I want to back up about 30 years. One of the defining influences in my life, if any of you recognize these icons, was discovering two software applications. The one on the left is the icon for ResEdit or Resource Editor. And the one on the right is HyperCard when I was about 10 years old on my parents' Mac classic. ResEdit is an application that was used to create and edit application resources, like icon bitmaps, the shapes of windows, the definitions of menus and their contents, and the application code. The first time, you know, me and my parents' computer was often me, especially on the Mac, was me just dragging things around the desktop and seeing which would, you know, light up over different applications and then dropping in and seeing what would happen. And unfortunately for them, one of these applications was ResEdit, which led to many system crashes. But anyway, the first time I was able to open up a piece of software with ResEdit and watch it disassemble into a collection of icons and hex code, as whatever it sounds, made actually a major impression on me as a child. I mean, the code made no sense to me. What I saw made no sense to me at all. I had no idea how to parse what I had stumbled into. So instead of looking at it rationally as a computer program, my child's mind connected to it visually, viscerally even. Instead of software, I noticed the texture of the black and white characters. I noticed the lines and the shapes that came forward out of the code. And, you know, while I didn't know what this actually was, I knew enough. I knew that it was controlling what was happening up front in the interface. And I felt a huge excitement at seeing the guts, seeing the organs of an application of what I previously perceived as a black box that I was only allowed to take at face value. And this sort of gave me this backdoor into this system, which was really exciting. This is a slide of the Mondo 2000 card from the Beyond Cyberpunk hypercard stack. A compendium of Cyberpunk sci-fi and guide to cyber culture that came out in 1990. So, yeah, hypercard is an application that lets you create stacks of so-called cards containing text and interactive images, buttons, text fields and other gooey elements. It's considered one of the first successful hypermedia systems before the web and was therefore a precursor to the web and had actually a direct influence on how the first browser was developed. Also, because of how it allows you to create these nonlinear narratives, jumping between cards of text and interactive content, you know, with the introduction of hypermedia, really. And, you know, being able to move in this nonlinear way, you know, really creates a feeling of traversing space, in this case, document space. And it really added a dimensionality to what was otherwise a very flat landscape in digital media. So, interacting with software in these ways via these programs really started to give digital media a shape and a form in my mind. It's something more than you just look at on a screen and, you know, as a static thing, but it's something that, you know, that had guts, that had dimension, that had physical, well, physical-ish properties. And it really established the synesthetic relationship that I would continue to have with media. So, I want to talk about sound for a minute. A great, huge inspiration for me is Edgar Verez and his idea of sound objects. That sound occupies space's form and with mass. Verez was a French-born composer who spent a lot of time in Paris and in the States working in the first half of the 20th century. And he's known for conceivative music as, quote, sound as living matter with the elements in his music as sound masses, organized as crystalline structures. So, he, you know, as well, had this relationship to sound where it wasn't just something that he heard, but it was something that had weight, you know, that had visceral properties about it. And he has this quote that, well, this is not his quote, but it's his quote is, when I was about 20, I came across a definition of music that seemed suddenly to throw light on my gropings towards music I sensed could exist. Josef Maria Hunor-Ronsky, the Polish physicist, chemist, musicologist and philosopher of the first half of the 19th century, defined music as this, as the corporealization of the intelligence that is in sounds. So giving body to the life that's in sounds. It was a new and exciting conception and to me, this is still for us speaking, and to me, the first that started me thinking of music as spatial, as moving bodies of sound in space, a conception I gradually made my own. So, having learned about him and reading about all this stuff and getting really excited that I came across someone else who had this relationship to this normally intangible stuff, really encouraged me to develop this project called Felta Signal Processing, or FSP for short, something I worked on for a number of years, actually with my sister, Larry Grant, who continues to work as a wearable electronics and textile designer in San Francisco. So together we developed conductive soft interfaces out of regular wool and metal wools, combining them together to work as components in guitar pedals, synths, and homegrown sound circuits. And yeah, here's a picture. So my goal with FSP was to take something else that I had a visceral connection to sound and try to create an emotional connection to it through an interface that I thought was closer to the texture of the sounds as I experienced them than the hard, discreet knobs, sliders, and buttons. So in this image, it's a sheet of wool containing an effects pedal that I built. And there's these felted components that are integrated into the circuit via these snaps that I attached, I mean, well, they're just grommets, well, snaps that I grommeted into this conductive felt that I made, and it becomes a variable resistor. I'll sort of back up, oops, a bit. So there's a wire that's snaked through the raw material, then it's felted up, then I attach the snap, and then I have something that I can solder a wire to and solder it directly into the circuit, into the PCB of the effects pedal. So it becomes part of the circuit. The signal is traveling through this felt, and as you manipulate it with your hands, you're changing the resistance of it, which is the same as turning a knob or a slider. You're actually shaping a sound with your hands. And yeah, we made several strange things. This was the beginnings of a strange synthesizer that this was the interface for it with all these intestine-like tentacles, each of which had a core of conductive wool and terminated in a snap on one end and would connect, yeah, that's a shot of the conductive wool down the center of it, but these snaps would then connect to the other piece and create a connection in these circuits. And then as you pulled the tentacle, again, it was creating this stretching action, which was changing the resistance and shaping the sound that was moving through it. So another piece I did was called House FM. I did it in collaboration with a very good friend of mine and sound designer, Helen Tang. It was an on-site installation consisting of multiple Raspberry Pis, broadcasting a unique soundscape over a shared FM channel, which was set to 90.1 FM. So it was broadcasting off of a pin, off the Pi, on the same frequency, six of these devices throughout the house. And as participants moved throughout the house during FM radio-enabled headphones, the audible signal from each Pi would fade in and out as they moved towards and away from stations. So in this piece, I was experimenting more with dimensionality, with creating these sound spaces. It was also an experiment trying to pull color and texture out of the corners of the house, out of the feelings of the corners of the house in which the piece was installed, giving a voice and a body to each of these areas as expressed in the sounds designed by Helen. So earlier I stated that my goal was to take something that I had a visual connection to, sound, and to try to create an emotional connection to it through an interface that I thought was closer to the texture of sounds as I experienced them myself. But this goal as well extends to my relationship to computer networks. I mean, having a visceral relationship to music and to art is more or less understandable. I think a lot of people do. But having one to two computer networks is a little less obvious, and it's something that I have been really struggling to sort of define for myself what that means. But for whatever reason though, I'm compelled to situate networking in the context of sculpture to design tactile network systems and to reference, for Rezagan, to consider networks or the signals moving over the networks as living matter. But I needed a framework to help guide my experiments and explorations. And I think that framework, where I'm at with it now, because this is really an ongoing research project, is this modified version of Harold Laswell's model of communication as a template for my thinking going forward as well to quote, for Rez, grow my way towards the sculpture I sense could exist. So according to Laswell, this phrase is designed to describe an act of communication. It asks who says what in which channel to whom and with what effect. So in the context of sculpture or art, the who and to whom are straightforward to answer. These are the artist and the audience. Which channel refers to the medium? Is it felt? Is it slime mold? Is it cement? Is it paper? What is the physical medium that will be used to link the intangible to something that can be physically engaged with or sensed? So, and then says what? I mean, this is the message that the artist is trying to impart from their piece. To me personally, so far in my experiments, the what is wanting to give the intangible a physical presence, like a real world avatar, something that can be engaged with. And finally, with what effect? This is the feedback from the audience. This is how does it affect the people who are looking at this and experiencing this? How will it make the viewer feel? For me, I hope it will impart, again, a sense of awareness, that these sounds, that these data transmissions, that they exist in the space that we're in, that they have a form even if we can't see it. So, I wanted to just show a few experiments I've been doing with some of the networking stuff. One of the first ones involves a slime world called Pfizer and polycephalum. It's a single cell amoeba slash fungus-like creature. It says about 2010 it's been the focus of interesting research that has taken note of the fact that for being such a simple creature, it tends to display complex and indeed sophisticated behavior. And it's been used to model various systems from transportation networks to help blood vessels form. It's also particularly noted for its ability to quickly find the most efficient path between food sources, creating efficient transport interconnections networks for faring nutrients from, in this photo, these are oat flakes, which is one of their favorite foods. It's basically a decentralized, adaptable network that is able to change in response to a changing environment. And you can clearly see here even how it starts to take the shape of a computer network or as the internet. In this particular experiment, I was actually seeing if I could find a way to color code data, if you will, that moves through the plasmodium network. So, as the slime mold ingests food, it breaks it down and then streams it through these tubes. And it moves in this tidal fashion where it moves forward and then comes back a bit and then forward and back a bit. It's how it moves actually. So I wanted to see if I could create color coded tags, you know, like trace something, a piece of food moving through the network by color. Hoping that I could somehow create like a data network or data packets that were moving through the slime mold and know where it had been based on the color that it was.  I use primary colors to dye the oats, hoping that as they ingested the oats and would break it down as different oats from different parts of the Petri dish mixed, it would also be a color mixer. They like, I could see, oh, this over here, it's green. So I guess, you know, this passed through the blue and the yellow node. Anyway, as I said, highly experimental. It's still something that I am working on perfecting. I haven't quite got it yet. Another thing I wanted to talk about real fast was QFM. It stands for cubed FM. It's a collection of FM transceivers embedded in cast cement cubes. Worked on in collaboration with my partner, Donia Vasiliev. Together they form a network of mini radio devices for modeling network topologies. And travel paths of data from one device to each other. So, I mean, this is a single one, but they're designed to actually work as a group. And they're just sending out a simple Morse code signal. And, you know, one sends a pulse and whoever, whichever one's nearby here, the pulse, pick it up and blink and LED to show that they've received it. And it's really just a super, super simple way to show data propagation through a network. And this was actually designed as well to be used as a teaching tool, which is something that me and also Donia do quite a lot is teach workshops to help explain how networking technology works. So, but it was also a way to just sort of see and appreciate how information travels through a space. Again, giving the sense of dimensionality to things and that though we can't see what's in the air around us, it's still there, you know, and we're situated in it. So, yeah, I mean, some of the stuff I know is super abstract, even for me.  And, you know, one of the greatest challenges of working with networks as an artistic medium or using networks as material to use a phrase coined by my studio mate, Julian Oliver, is the fact that computer networks aren't inherently tactile. You can't see them or taste them or smell them or feel them. So how do you create works that engage an audience out of computer networks if they can't experience it with their senses? Does a person fully even appreciate what's happening over a computer network if they can't experience it with their senses? And, you know, I think it's about changing our relationship to something that is usually considered purely a utility.  It's about moving messages over, you know, from point A to point B. But is it interesting to look at how networking can manifest itself in other contexts, like in the case of the slime molds? You know, where can parallels be found and is there meaning to that? And by giving something a tangible form, will it make us think about it more or think about more like what happens over those invisible tubes? So, yeah, you know, the thoughts presented here, like I said, are very experimental and open to discussion. And if this has evoked any thoughts or questions in you, I would love to hear what you had to say. Thank you. Yes, thank you, Sarah, for your talk. We have time for some questions. So we have four microphones in the room. One, two, three, and four. So if you have any questions, you can just walk up to a microphone and ask a question. Or in the meantime, if we don't have any questions from the internet. So, first question, microphone one. Hi there, yeah, thank you for the talk, very interesting. Can we hear some of those sounds that you made with the pedals? Yeah, well, you know, I actually did, I do have a video. I, well, I don't know if you have time for me. I'd have to like dig it up. Maybe you can find me afterwards and I can play for you. Well, okay, well, let me see if I can find. So in the meantime, maybe there's one question from the internet. The question is regarding the rule-based FX pedal.  Yeah, actually, I, well, you know, I never performed it live on stage. I, it just didn't happen, but I would perform to myself in my bedroom. And yeah, I mean, I used it actually to process my voice. So there, you know, there's a microphone. I was singing into it and running it through the FX pedal and, you know, when people sing, you know, it's a full body thing sometimes. It's like you're using, you're moving with your body, your hands, and it felt really nice to have this like, this felt, this like, this like warm comforting felt in my hand that I was, as I was singing, as well shaping my voice almost as though we're in accordion. Unfortunately, no video documentation of that. But yeah. Thank you. Yeah, yeah, a little break to, to, to, to let you, to let you search for the video. Yeah, I'm searching through my sister's Vimeo where, where we had these documented. But you know, this was actually from, from some time ago. So let me just try to look again. If I can't find it in time, then by all means come find me afterwards and I can, oh wait, I think I did find it in fact. Actually, if you wanted to, let me see if I can, we actually do have an, an archive of our work here at chutka.com slash fsp. If you wanted, if you're curious to see what some of the projects were that we did. Does this also have audio out? This HDMI? Well, let's see if this plays and if not, then you can check it out. Oh, I don't think it's going to play actually. Oh, wait, is an audio here? I think we might, we might be out of luck. Well, if you want to listen, actually, you can, you can visit this, this webpage here and we do have some videos up. Okay, I think you can see the address up there. Yeah. It's also on, on the talk site on, on the Fablan. So you can listen to it there. So there's one question at microphone one. Oh, wait, we hear something. Oh, something is coming up. Just a sec. Yeah, this was a, a noise experiment. Those are my sister's hands. Here you go. Thank you. Okay. So yeah, the question? Yes, short question. How hard is it to be sound artist in the modern world when we are almost visual media audience? Mostly when you are on talks, there is for sure some projector and video, but sometimes there is problem with sound as we saw now. And so when people browse the internet, they look for pictures. So how it looks like from your perspective. It's easy to reach your audience with sound projects. Well, I mean, to tell you the sound, I included it in this talk because it's, it's relevant to this idea of visual systems, but at the time, I have actually worked with sound myself for a number of years. I've been focusing mainly on networking, but it, I mean, was it my goal, like that I want to reach an audience online? For example, online or even in exhibition sites, sometimes it's hard to find perfect conditions for sound. Absolutely. Well, so one of the benefits about this is that this isn't reliant on high fidelity. This is actually about noise in some way. It's about interference. So actually that was never an issue. Yeah. Okay, very good. So unfortunately time is up for this talk. So thanks again, Sarah for the nice talk. Thank you very much. And a warm round of applause.


Welcome, this is the Jenkins documentation special interest group. It's Friday, April the 24th. Thanks for being here everyone. I'm going to. Excuse me. I'm going to share my screen and let's look at the agenda. So what I had was. Action item review, Google season of docs. I'm going to share my screen. Status of the solution pages. Documentation roadmap and projects. And if we have time. Data on contributors and contributions. There's no requirement that we, we need to get to that. If that were just to be left in the document, that's fine. Oleg on the status of solution pages. Is that a topic you want to include in the agenda? I'm not hearing you. It is. Yeah. Okay. So it explains. Yes. So I would like to discuss that for sure. Great. Excellent. Okay. Are there any other topics that need to be added to the agenda? Nothing specific from me. I wanted to discuss contributor guidelines, but it might be better to do it next time. Because I still want to finish some items. Okay. All right. And it looks like I have to stop my show. There we go. No, we've got one more addition that we need to add. I had to find the right screen to me if he's joining us also. And Slayton. Good. Okay. All right. Markey, any topics that you needed to add to the agenda? Nothing other than what's already on there. Okay. Great. Excellent. Thank you. Okay. Then let's, let's go ahead with our. So we had a request to put the docs project ideas in a pull request to Jenkins.io. I think that's done now with, between the efforts that Oleg's done ideas that I've put in. We've captured roadmap entries as well. So I'm considering that one done anything. That needs to be kept on that one Oleg that you're aware of things that I may have missed. So I think we could definitely extend to this page, but yeah, I think that we cannot close it. Great. Okay. And I still owe a doc SIG summary. I tend to drop in on the governance meeting and periodically give summaries there, but I, we need a blog post. And so. Yeah, especially since now we have J sort, et cetera. So you may highlight this activities a bit. Right. Exactly. Also, maybe a status of plugin documentation migration. Yes. This is pretty good there. Well, and we've, we've now got, we've just, we're just about to get a new how to guide for, for the participate page or series of guides. Basically more retirement of wiki pages. So there are a lot of, a lot of things to highlight there. That, that'll be my, my item continued. We had one more. Palm and bomb developer meetup. There's been some, we've released palm 4.0 now. Oleg, is this one we should consider for the near term or rather let it wait. I think we should do that. And I'm not sure whether James North and JC are available. If not, I'm ready to do this meetup, maybe together with team. I will think James and Jesse again. Just quite busy with other stuff. Right. Well, but, but you're right. Tim Jacome would also was also deeply involved in it and would probably be a great presenter. For me as a plan C. Well, and I think you, you would do excellent running it or I can run it. So do you want me to draft the draft, the proposed text for the meetup? And with me. Okay. Great. Then we had one more list, the GitHub apps and plugins that use them. I don't recall the context here. Could you give us some context Oleg? Yeah. So it was discussed one or two months ago that we have a number of GitHub apps which help with documentation. For example, release drafter, another beats, but for plugin developers, it's not clear which apps we offer. And there is separate problem that we don't have a documented process of how we review apps. This is something which was brought up in the developer mailing list this week or last week. So, yeah, probably, so the list of approved apps, we definitely need to put it somewhere, maybe on infrastructure, maybe on just.github repository. And we also need a documentation like the JEP, which would document the process of approval. No current process of approval. It's quite easy. It's approved. Okay. So that because certainly we've documented and even done webinars on release drafter and on dependabot, but this is about what if someone wants to add a new one? Yes. Okay. Got it. So I guess it becomes less relevant to these days because many apps move to the GitHub actions space and for GitHub actions, you don't need special permission to enable something. But there are still a lot of things which are available through apps on there. So yeah, writing a short JEP wouldn't hurt. Okay. Anything else on action items before we go to the next topic? Okay. Great. Let's take on Google season of docs then. Oleg, do you want to take the take the voice there? Okay. Yeah. So Google season of docs is something we've been discussing for a couple of years. Since it was hinted at the G-Soc mentor summit. Last year we applied to Google season of docs, but we haven't been accepted if you scroll down because there are references to our application and retrospective we had after we were rejected. But this year initially we wanted to apply again and when we started the discussion one month ago or so, we had some struggles to find Orc admin and mentor team because if you want to run this program, you still need people to manage. And while it comes to Cosmo because you'll still have administrative overhead, et cetera. Personally, I believe that this overhead is well justified. If we could get a part-time professional technical writer or just somebody, a professional, it would be a great addition to the project and it would help us a lot to push the documentation. So at the governance meeting on Wednesday, we had a discussion. Basically it was a go-no-go decision. And since we had many contributors who stepped up thanks to Sladyn, thanks to Marky, Christian. We agreed that and to Mark of course. So we agreed that we will do a best effort attempt. So I spent a couple of hours on Thursday. I wrote this landing page. I also created an application draft which is currently ready for review. Any feedback will be appreciated because basically this is what we need. You'll also need mentors to register on the JSOC website. I'll send it later. But I think that from the application side, we are all set. And we will benefit from having more ideas. Excellent. And the timeline is relatively short on this. The applications must be submitted by May 4th. The applications must be submitted by May 4th. But actually I have already submitted that. So how it works. It's not like a JSOC application website. Instead of that, you just submit a Google form. And you can edit this Google form until the application deadline. So similar to how it was last year. I submitted the form. I also put a field here in this application document. Later I plan to move it to Jenkins.io website. Similar to what we do with JSOC. It contains text, et cetera. Thank you. Thank you. Thanks for comments. I will reply there. I'm also actively going through and changing some things.  I'm more making things more in a professional document. So if you look at the history of the dog, you'll see the things that I've changed. And if you have any questions about that or concerns, I'll definitely raise them that way. But I'm not commenting on body changes. Most of them are just grammar and. That's perfectly fine. Anyway, I consider it as a boilerplate. So before the final application, I submit, I will submit the final version to the Jenkins website as a pull request. And there we can do a trace review here, whatever you change just to do it. Okay. So you're one thing that the entire application form is plain text. So it's not marked down like JSOC. Well, it's not a big deal, but whatever. Also, who will season of dogs should it be included in the sub projects drop down on Jenkins.io? Or is it fine? I have some concerns about sub projects drop down to be honest. So when we started it, there were no special special interest groups. So it wasn't reduced before. And right now we, the fact that have sub projects by special interest groups, for example, we have, if you go to JSOC, sorry, to the documentation seat that we also have projects listing. Okay. And yeah, I understand the importance of highlighting some top level projects there. But yeah, I wouldn't put any sub project to this page. And maybe I would consider removing things entirely because the solution is so nice. Evergreen is even deep free, say I would say. JSOC is running infrastructure. Infrastructure could be just converted to a SIG. CICD and remit apps are a part of advocacy. Contribution is called is potentially a part of platform or currently a part of the planning to find remote. It's a good question. But yeah, we deal with it. So I don't see a much future for sub projects top here, unless it helps us to facilitate contributions to this area. And right now it doesn't. Well, or if sub projects should actually be renamed special interest groups and get this list instead, right? Because we have sub projects is, is a dated, a dated menu now and sort of outdated menu. Good. Yeah. So we, we can just squash them and we could use community top for something else like put Jenkins online meetup here. You could remove a week. I have no idea what account management is doing here, but yeah. So it's a subject for the work later. Right. Yeah. Okay. Yep. Sounds good. Good questions. Thank you. Anything else on Google season of docs or any questions for Oleg on Google, Google season of docs. I think I'm good. Now, I'll go ahead. No, no, I was just saying for me, the landing page also yesterday, I mean, I had some suggestions, but yeah, it looks good to go as is. Yeah. So with just, I'll go ahead. Yeah. If you have any suggestions, just admit the request. So just to explain why I merged it without fully closing suggestions. Firstly, because you are proofed it. Secondly, because I wanted to have something in place so that we could facilitate contributions by others. Yeah. Perfect. Perfect. Wholehearted agreement on that. That was, that's. Okay. So it doesn't mean that this means feedback. You just admit a pull request and we can review it incrementally. Okay. So anything else. Yeah. We need more project ideas. Well, theoretically. And we need more potential mentors. So if anyone is interested to participate or if someone has an idea of what specifically we could change, that would be great. Because currently we have three pretty broad project ideas. Just submit proposals. Thank you. All right. So we take on solution pages. This is a, this is a fun one. I'm going to show something that is really a thing of beauty. Actually, I love what you've been a connection. He did with this page. Go ahead. Me. Okay. So firstly, thanks to the being for the work on this page. Just to provide some history solution pages have been introduced as a part of Jenkins to do zero website. So when we create Jenkins Iowa. And as a replacement for the previous website. Historically, they didn't have a listing of use cases at all. I edited maybe three or four months ago. It's just because I wanted to remove solution pages from the menu. And right now in sort of solution pages, we, we still have that. But yeah, I wanted to remove it. So why I wanted to remove it is because the layout is currently really cool. Thanks to spinac. But if you start navigating to content, you may see that all these pages basically dated. And someone. Yes, someone just terribly dated. Formatting is pretty bad, et cetera. And I would argue that the most of these pages need a completely right. And it's especially terrible that we have so bad. So we have so bad pages. We have a lot of content. There is a lot of articles, for example, about using Jenkins with Docker using Jenkins with GitHub, et cetera. But we haven't been maintaining these pages. Yeah, so some pages look slightly better. I'm just having no content. Obviously we are missing some key use cases. For example, Jenkins with Kubernetes. There is no solution page for that Jenkins on GitLab. There is no solution page for that. And so on and so on. We have expertise. We could create them. Or we could just put links to existing content. So that could be a lot of composition of work done to just completely rewrite these pages. I was thinking that it could be a good project for Google's season of dogs. Or maybe a good set of new, different issues for Jenkins website. My proposal would be to consider adding it to roadmap as a future item and creating other framework around that. At least in the work of that on the C page and creating issues for that. Yeah, as an example, we have three pages here which have tutorials already in our documentation, but no link from the use case to the tutorial. And so there are lots of things we can do to improve these themes. We have stories from users that are arriving now on other locations. And they are stories typically about one of these use cases that could be linked in here. So lots of opportunities to improve. Yes, immediately I would rather remove it from the menu. Because our current situation is that we have almost no links to documentation. So if you click on the documentation menu, there is just a link to use Jenkins. You open that and basically you stack another page which doesn't really provide your navigation. So I would rather kill use cases or just keep it as a single link. Instead of that, expand use Jenkins to something like user guide, documentation guide, administration guide. Maybe installing Jenkins and I think it would be more helpful for those who seek documentation. Right now, to be honest, I look for Jenkins documentation in Google. Right. Yeah, agreed. At the moment, this page that I'm showing is not even accessible from the menu menus. If I click, if I go to the blog, for instance, and then I click documentation use cases, it doesn't navigate. So we've got a page that is a beautiful thing that we're not actually showing that we don't have anywhere in the navigation. So yes, abundant things to improve. Okay, I'll probably just follow your pull request for solution pages. So if somebody is interested to take action items, maybe to just create issues or to write something. So for example, Mark is a maintainer of github plugin and some Kubernetes plugins. So it could be one of the options to at least create a skeleton. Also, one, one potential opportunity. Right now, we have a hard-coded list of plugins on this page. Maybe we could just drop into it entirely and instead of that, provide a label query to the plugin website, because we added support for queries and manually maintaining a list of plugins on solution pages for me, it looks like a waste of time. I'm not sure I'm understanding that you say a list of plugins. For example, please click on Java. Java. Okay. Okay, so we have six plugins listed for Java. Actually, the list is quite high and it's pretty much for everything else. There would be two ways. First way is to just provide a high percentage of the plugin site to a label search. Another option would be to provide the iframe or whatever. So we, again, provide information generated by the static plugin site on this page. But maintaining the list of plugins in just another case for me is just a waste of time and it will be always obsolete. And so this list is actually maintained inside the page that describes this. Okay, yeah. It's not maintained inside. Right, right. It is orphaned inside. Very good. Yeah. Your use of precise verbs is a good help here. It is orphaned and inside that file as a list. Okay, so just kill this information replaced by our plugin site link for now. And then the future have an automated generation of such information because we could use it on other pages as well. But definitely not as a minor maintained content. Yeah, so the idea is to just apply it by the what's by the plugin site. Yeah, that's yeah. Actually, we could do it at the built time, because for example, if this list is rebuilt every time we built the Jenkins IEA website, it should be acceptable because we built Jenkins IEA quite often thanks to continuous delivery. So maybe the first solution would be to just query update center and generate the list. So we all really query update center when we built the Jenkins website, which causes a lot of problems when updating site is down, but at least we could use of the same approach here. Right, it would, it does not make it any worse that we are dependent on the update center and in fact our users are dependent on update center so that seems very reasonable. Maybe, but yep. So, if somebody is interested to spend some time we could definitely improve these pages just like such things. Now on the on the solutions page like that when I as I was looking at it, I saw what I might call themes here that there are SCM systems, Bitbucket GitHub and you noted GitLab and for me giddy. There are languages like C and C++, Python, Java, PHP, and then there were platforms like Android and Docker. Do we need a thematic orientation here or is is I mean the flip side is people coming here see this and probably immediately see the thing they want or they don't and it's there's no need for further categorization. It depends on how many solution pages we have because right now it's not a problem. But we have just 11 solution pages. If we had let's say 100 to 100, which represents the skill of the Jenkins project and supported and definitely you would benefit from some. So, I would prefer to solve this problem once we get there. And once we get into this problem I will be extremely happy. But then my solution would be to just add additional field for categorization and maybe write some JavaScript which would allow filtering them. It's still great to have this grid of technologies which are just sorted by alphabet, but then if we provide some support for filtering them, it would be awesome. Great. Thank you. And my JavaScript skills enough to do that. So I believe that it's not ideal. I do like the idea of getting the Kubernetes piece in there and linking. I think that would be a huge hit. Yeah, you have this in the Jspot project idea. And yeah, I wanted to create this page anyway. But so somebody wants to contribute. Let's just do that. Excellent. Thank you. Anything else on solution pages. My action item is to create pull request to make the surface a bit more official. Assuming that we agree that it's something we want to do. All right. Next topic then roadmap or anything else on solution pages before we go on to roadmap. Okay, so here is a thing of beauty. Thanks deeply to Oleg for this this effort. Here is the documentation segment. It's only a piece of the total documentation contribution to the Jenkins project but here's a view of the documentation roadmap from left to right it is current near term. Let's see headings are released current near term and future. And so static plugin site continues to get improvements but is fully deployed and ready to go. We are about 350 plugins now migrated their documentation to GitHub. So that's in good progress. And we've we've got some progress on the documentation migration to Jenkins.io and project ideas to further that. Then in the future Jenkins on Kubernetes admit extract the administrator guide from the Jenkins handbook, improve the user guide portions of it and solution pages. Yeah, these they were put there when I did the when I did the PR to put the solution pages on the on the docs page. Okay, thank you. And then it's still yet to be done for G sort, but it's great that it's already in the roadmap. Yeah, for me I felt like this is this the work that you've been I could done is such a catalyst for us that what it what this is talking about is the story about how do we, how do we improve that even further. And so we've got a we've got a Jira ticket to represent it as an epic. So one question. Do you want to use Jira, or maybe should we use GitHub issues and get up. Oh, that's a very good idea because GitHub issues are enabled on Jenkins.io we could use. We could keep it entirely centered on the Jenkins.io repository. Yeah. It's much easier to manage on GitHub because it's like almost everything for Jenkins.io already happens via GitHub much easily so it's and plus we have the copy editor scheme and all of the full request mechanism that make much sense to have all the issues also there. Right, good point. So what if we put an action on mark propose. Let's see propose the shift of docs projects slash epics to GitHub issues is right now there are a number of them that are on GitHub or on Jira, but let's use GitHub issues. Yeah, so and the docs feedback form actually has already switched to GitHub issues. Oh, like, or at least maybe maybe I should say it differently. There is a feedback form. But there is also improve this page which takes me right there. And then there is report a problem, which opens up a GitHub issues page. What we don't have is the, let's see, the one that was feedback on this page and it's not visible on this on this particular page, but that one adds an entry to a Google form I think that's what you're alluding to right oh like here on the docs feedback form topic. Oh, you just muted. Okay, sorry. Okay, so all the documentation allows us provide a feedback form, but this feedback form goes to whatever Google feedback form. To be honest, I still have no idea what is the link and whether I can access that. Okay, then I just want, but yeah maybe we could just switch to GitHub issues. The only problem with that is that it requires a GitHub account to report an issue. On the other hand, the Google forms, for example, is not accessible from China. So I'm not sure what exactly would be better. Maybe we should keep both ways. But I think that we should recommend GitHub issues by default. I like that idea. It gives us a tracking workflow today what we have to do is I end up every week or so opening up the docs feedback details sheet like this. And I'll just embed this link because it's a publicly readable sheet, and I checked the latest feedback. And that latest feedback is usually, I have to think very hard about it before it becomes actionable. So, so let's I'm going to link to the feedback form here. Well, maybe we could do some automation so that even these forms somehow ends up on GitHub issues. Yeah, I think that it would be easier to just provide users a way to report something right actually get quite a lot of feedback. Oh, yeah, this is this is multiple years worth of feedback that's collected here. And yeah, just look at the date and all the data is quite recent. Oh, yes, and we, I regularly that's why I regularly look so for instance, you'll see this one right here that is the wrong public key. This was absolutely related to current change to recent changes on our packaging. Right. So this is somebody reporting hey, the public key instructions for installation on red hat didn't work or on fedora, and they were correct. And it was a reminder to me, keep searching that so this has been helpful.  Yeah, sorry. I think that in principle it would be much more convenient to put on GitHub issues because firstly it becomes publicly visible. Then we can just put a new befriending label in some cases so that somebody fixes that eventually. Then we can also add to a picks we can just suggest the feedback provider to submit a pull request, which is relevant sometimes. So, from a facilitating distribution standpoint, get happiness is much, much better from reports of user experience. It's up to discussion. But again, get happiness provides a two way communication channel by Google form is basically just submit feedback and forward. Exactly. Now one of the challenges with that we still need to solve in the in the connecting to GitHub issues. Currently the GitHub issues connection, or the improve this page link is this is not connected to the specific contribution location for things like pipeline syntax, where they are being assembled from multiple places. And for that, we will need to top the logic a bit. I was thinking about the same for roadmap and for other items, because for roadmap, it's exactly the same. You can actually improve this page, but you get to lose your humble, which basically doesn't include anything specific to roadmap. And the most of contributions are likely to come to the roadmap content. Yeah, it's a kid is for Mustang, you know, to generate a page like what's the GSOP project ideas listing again, improve this page doesn't help much there. Well, and the, let's see the one that I was thinking of was the weekly change log. Yes, the change right to make a correction to change log improve this page won't help. Yeah. I was thinking about adding some metadata, which would alter the behavior of improve this page macro, and maybe report this problem macro as well, so that they point to the right location on feedback is submitted. Yeah, but there is a difference between thinking about something and submitting a GitHub issue for that. So it's on me, but yeah, I think that in principle it's something we should support. Obviously, for pipeline steps and in the future for system properties will need a bad engine to make it useful for pipeline is actually even more challenging because documentation effectively comes from Java doc. Right. And from health pages. So you would need to link it somewhere to another repository. I have no idea how to do it like that. It's, as you said, there's, at minimum some metadata has to be provided somewhere some additional information has to be provided to, to connect those. Great. Yes, or maybe improve this patient side case should be reference to whatever contributing guide. It's better than just opening the wrong page. Let me take, I think you highlighted one that I should hang my head in shame on that there should have been a GitHub issue reporting the improve this page because that would at least let us know, oh, improve this page needs to be improved. But that is the problem for that. Oh, is there already. Yes, or the issue. So, if you open any page, there are two buttons. One button is improve this page, which is basically opens GitHub editor. Another one is report the problem which opens the GitHub issue. So I have an action item to connect this button to an issue template. So it provides a bit better look and feel. But in principle, one button opens editor. Another button creates GitHub issue and it was created by team Jackam before that there was page history, which is less relevant. So, so, yeah, I believe that we already have buttons in place. Yeah, what I was trying to say is that while we have the buttons and while we have the links ready there. What we don't have is that if I navigate to pipeline syntax and click report report a problem or improve this page. It will end up creating that in the wrong context or on it on the roadmap if I if I go to roadmap and collect report a problem. But will it get certainly, as you said, if I go here and improve this page it will take me to a Hamel file, right, which is not going to is not the thing I probably wanted to edit when I was trying to improve the roadmap. Yeah, so, but it's something which can be fixed quickly. So I was thinking about that. And it's not the first year, which, when I hit this problem, but I have never done it. Got it. Okay. So if you have some bandwidth to create these issues, it's fine. It's just one I had, I had noticed and not submitted and I thought I should submit issues when I notice them. Yeah. But we are a little ahead of it. I think that in general be an agreement that get happy she's something useful for the plug-in site, sort of for Jake say oh. Yeah, agreed wholeheartedly. Great. Now we are nearing the end of our time are there other topics that need to be addressed in this meeting I'll just leave the data in the in without doing a review during this meeting. Okay. I think we're at a point where we can call it an end to the session. Thanks very much everyone for for joining. Looking forward to our progress on Google season of docs and more. Yeah. Thank you everybody have a good weekend. Cheers.


everyone and welcome. This is Melissa Armo with the stock solution. I'm taking a look at Ulta. This is the third leg down of this. I called so many trades in this. I mean, I don't even remember how many anymore. Some people can still be in some of them. But again, if you get out of some of them, I called more. Again, what's the key of success in trading? Book it, book it, book it, chunk it, chunk it, chunk it. Take out profits. Make money. That's the number one goal. So I called a trade on this on Friday. Then I call another trade on this today. They're all working. Another great round of calls for the options newsletter. So let's just take a look at this here. So actually, I saw this on Friday and I saw it starting to break on Friday and called the 230 puts. Then I called the 225 puts. This is rocking and rolling. Man, this has a big target. Now let's just take a look here at the market quickly. Oh, the market's red. Oh, what a surprise. Actually, it's not a surprise whatsoever at all. So long story short, Alta looks amazing. Alta is lower. Dream target in this. And I'm not, I'm not saying anyone should hold this until there. In fact, I'm looking at this right now. I'm going to look at another thing here. I just want to see what these one cost here. This looks really good, people. Watch this one. This is lower. I love it. It's getting the market's help today. Good luck, everyone. If you want to subscribe to the GAP Options newsletter, email me at Melissa at thestackswush.com. It's $50,999 a year. Don't miss the next trade. Calling tons of trades in this. This looks amazing. Good luck, everybody. Congratulations, everyone that did it. Tons of winners in the last 48 hours alone. Have a great day, everyone.


Hi, you guys, Lindsay here. Welcome back to my channel, Inside the Hymn, who's excited. Vogue Patterns just released their brand new fall sewing patterns. They released these last night, this morning, and I have been doing everything I can to avoid looking at them, so that I could maintain my first impression honesty with you guys. But truthfully, I'm so excited. I think Vogue is the collection I look forward to the most. I don't know, something about the Vogue patterns that just get me very excited. So without further ado, let's jump right in. It looks like we have an incline jacket and pants. Okay, so it's kind of like a modified trench a little bit with, I don't know, what is this, like a flouncy ruffly thing? That's kind of cool. It's sort of hard to see the details with the fabric choice. Let's look at some line drawings. So, um, okay. So yeah, we've got, I don't know, does it, I guess it semi fitted lined jacket has snap closures. So I don't know where the snaps live, but it looks like it's like partially open, maybe? I don't know. Again, it's really hard to tell. The details look kind of cool. I like this little swoopy thing. These, like a trench coat, don't bother me. I love a sleeve belt sleeve buckle thing. The collar looks nice.  We've got a shaping detail here, two part sleeve, which is awesome. And some shaping in the back, which is great. I love the cropped, like how short it is. That's really cute. And then just some basic flat front, fly front pants. I do like the little rounded, um, pocket. I like that it's not a slash, like a diagonal. Those can, those don't work well for people with larger hips. They just gap open, but these little rounded ones kind of like denim, kind of like jeans. They do really well. So these look like they are kind of like a slim leg. Super cute. Turn up the brightness. Maybe we can see that better. This is a really cute outfit. I like that. Okay. Next up, we have a pucco peralta, peralta dress. Ooh, look the zip from the top and from the bottom. Very sexy. Oh, interesting. What was there? Oh, it starts right here and kind of like scoops down. This does seem a little low to me. Right?  Yeah. But we've got some back darts, which is cool. And there's very little shaping. Look how cool it looks completely zipped up though. Love that neckline so much. But because there's no like, I don't know if we're getting like the right kind of shaping in the back. Yeah, it is really low. It is supposed to come down that low. I don't know how well that would work for me since I have such like, I don't really have a sway back necessarily. But I mean, there is like a definite swoop there. And I just feel like that would cause like a lot of fit issues. I mean, even she has a little bit of them, you know, I feel like that would be very exaggerated on me. But I am obsessed with this. This is so cool. I would maybe try and take that and convert it and convert a different skirt. Maybe I don't know, it's a lot of work, especially in a Vogue pattern, a Vogue designer pattern, because you know, they are like the instructions come just for this and they are so well done, you really don't want to deviate from that. I don't know, maybe it would work. It doesn't really sharp. That's just too cool, I think. Too cool. Okay. Now we have, oh, I wanted to see, sorry to go back, but I did want to see about the fabric. Is that like a Ponti? Yeah, PK Ponti knit, denim or wool crepe. So they're stable knits or woven is really kind of what they're going for there. That's really cool. At a Ponti would be awesome. At a Ponti, maybe the back would be a little more forgiving, you know, because it would have some more stretch to it. Not a ton, but a little bit. Okay, so now we've got a Badjali Mishka dress. Okay. Very nice. I could see this being like you know, a semi casual, semi formal holiday dress. It's got doleman sleeves. I think this is a dart or maybe a pleat. Maybe it's a pleat with like a little side seam sort of. And then we've got back darts. This is what I feel like that Paco Porralta dress is missing, like some shaping back here. And then just, yeah, like a pencil skirt kind of tapers in at the bottom with a little pleat or a little slit in the back. It's cute. I don't know if it's for me. I don't know though, because sometimes when you have like larger hips to have like a more full bodice can be flattering because then it's like bigger up here, super small in the waist and then bigger down here.  They're just usually not my favorite on me. You know, I guess maybe is it an insecurity? I don't know if I feel insecure so much as I just don't feel comfortable. Okay, this is another Badjali Mishka. This is at my alley. Look at those sleeves. That's cool. This is a really cool party dress.  It's only got bust darts, no darts here or in the back. Sequin mesh lace jacquard. So pretty stable non-stretch fabrics they're recommending there. The mesh will have some stretch to it, but oh, a sequin dress. I don't know about that. But yeah, jacquard for sure, brocade absolutely. If you can find a lighter weight brocade for, you know, the drape of the circle skirt and the drape of the sleeve, that would be really cute. Yeah, I mean it is pretty basic. Pretty basic. Okay, now we've got Tracy Reese. She's got a cute little top with some pin tucks and like a chain detail. It looks like a forward shoulder scooped hem pockets. What's going on in this tunic? Yoke on the back. A cuffed sleeve. It's not my style personally. You know, it's a little too womanly for me, I think. I'm not quite there yet. This looks cute. Julio Caesar Cesar. That's fun.  It's actually a little overwhelming to think about finding all of these different elements and making sure they all go together. But the shape of the coat, even if you don't do all of this embellishment, is really cute. Like see how it's short here and then long here. Am I right? Oh no. Is it even more different down here? Here I need to see a different picture. That's really cute from the back too. Oh there. The shape is really cool. I like the shape a lot. And you could find, it's easy to find bias bindings like either make your own or you can find leather bias bindings in some trim stores. So you could do a simple embellishment in that regard. But I just love this swoopy neckline. But look at this line drawing with all these different fabrics. Yeah. You have to like really be able to have an eye for detail to be able to pull that off I think. But it sure would be fun. It sure would be fun. They did a good job with this one. Let's look what the yardage looks like. We need white woolen's boiled wool contrast. Shantung sequin fabric broadcloth. And then yeah, see of all these contrasts. And then do they have anything? Oh notions. One snap, one button, four yards of double full bias tape and one skein, skine of yarn. I guess that's what that is. Yeah. I would probably figure out a way to do it all in one or at the very least like you could do like a black, like, I don't know, wool, for example, and then find other black fabrics that are textured. Like you could find a jacquard or a sequin or like a metallic brocade, you know? But if it were all black or all one color, maybe that would be easier to wrap my head around. But it would still be interesting. I don't know. That's kind of very inspirational. Makes me, makes my wheels turn. This one is Today's Fit by Sandra Batsina. It's like a harnessy coat dress and top. I'm down for a coat dress. Oh, there's the dress. I've seen this. This must be from Joanne. Yeah, these fabrics aren't, they're not really feeling the fabric choice. Trying to just analyze the shape. The coat is cute.  I just, I'm not a zebra. I don't know. Do I like, see how it's like a harnessy thing and then it wraps around to the back? I just don't know if I like that. Yeah, there she is. It looks like, yeah, a backpack from the front. Am I right? Doesn't look like a padded shoulder strap. The shape is cute, though. Okay, here we've got another Sandra Batsina pattern. This is a blouse and pant. I mean, that looks more like a jacket to me, but right. Look at those pockets. That's kind of cool. Show us the pant. We don't even ever get to see the waistband of the pant. That's so annoying. They do that in ready to wear too. Oh, here we go. Oh, look at that. So are these knit pant, medium weight woven for A and B and C is moderate stretch knits like Ponte. So yeah, it's a knit pant. They're just pull on, you know, like yoga pants, but with a little bit of a flare and or this detail. I actually do like this detail in a knit Ponte. I'm trying to see on her like how fit it are they. I think Sandra's patterns are typically they have a little bit more ease in them, but it's still really hard to tell. But a Ponte pant is a really cool idea. I like this. I do. Okay. Okay, now we've got an asymmetrical hem tunic and really baggy pants.   I mean, it's cool. The concept's okay, but that would just would never look good on me. Never, never. But I might lengthen it and make it a dress. Would that be cuter than putting it over pants? What do the pants even look like? They are elasticized backs. At least they have some darts in the front. The Ponte pants did not have that. So these must be woven. The pants actually might not be horrible. Oh, again, you can't really see anything because their pictures are so bad. Oh, I want to be able to see like I can't even see the hem. I still can't see the hem. I don't even know how wide they go. Okay. Easy option, custom fit. Custom fit is where they have the different busts, I believe. So this is a maxi with a very large like dramatic sleeve. There's a, oh, there's a different sleeve option there. But also there is princess seams and a center front seam, which is really fun to play up stripes. Interesting dart and then princess seam skirt. Deep V front. Cute, right? That one's pretty. Even that one's really cute with the sleeve placket. Oh, flutter sleeve. This one's got a ton of options, which is cool. It's not that deep. It looks deeper in the drawings, I think. Pretty sleeve. Look how well it fits up here. Cute little keyhole back. But I think that your bra strap would still be hidden and that's important to some people. Cool. All maxi links, I think, or maybe these are shorter. It's sort of really hard to tell. I think that one will do really well for them this year. I think a lot of people will buy that. Cute. Okay, now we've got a very easy vogue. Wrap, dress, doleman sleeve, a couple of buttons, and is that like a seat or a dart? I don't think so. There's just too much volume up here. Too much fabric, too much ease. I mean, I want to like it. I don't hate the line drawing, but yeah, I just don't. I think this is like a suiting fabric, though. I can't even think of another fabric that it would look better in. Maybe if it were shorter. Yeah, I don't know about that one. Not that inspiring or exciting. All right, now this, on the other hand, is very exciting. Look at those sleeves. Hello. Sleeves with a like flounce and a bow? Are you kidding? A freaking durable. And you guys, I'm about to scream with excitement and happiness. Look what I just spotted. Fish-eye darts on the back. Oh my gosh. It's like the shift dress of my dreams. So we've got this super bust dart here to give shaping in the front and then these super awesome fish-eye darts in the back and these sleeves that are to die for. Look, you guys don't see them on a human being very often, but that's what they do. Oh, too cool. Obviously, too, you could add this sleeve detail to any sleeve.  Really, really cute. Neckline's nice. Kind of like a modified boat neck. Honestly, I'm surprised not to see more of that since Meghan Markle was doing so much of that and continues to do so much of that. She's really made like the batto neckline. She's like really brought it back. Okay, this is a jacket, skirt and pants. Very basic, but I do like all of this that's happening. Right? I mean, you can totally see she has a waist. So that's cool. Other than that, it's kind of just like a basic blazer. There's really not much to say about it. I do. So there are a few details that I like.  That's all really cute and I do like those details. It has a little dart in the sleeve. This allows your, you can kind of tell here, see how it's creating a natural bend in the sleeve because that's how your arm bends. So that's nice. And then these, you know, really great princess seams on the back as well. And then the skirts just kind of skirt, pants, same side zipper. Only one dart on each side in the back. I prefer two. So yeah, that's that. This, she just looks too young for this. This looks old, tired. But I guess you never can, you can never have, like, it's what I'm trying to say is it's nice to have like a tailored blazer in your pattern collection. I think this would be a good one. So for that reason, I guess it's okay. This one's cool though. This is like a, you know, drop shoulder sleeve kind of kimono-y wrap coat. That's cool. It reminds me of that dress, the McCall's dress we just saw. Oh, that, there it is, monochromatic. That's kind of cool. I don't know about it with these pants, but something's off with the proportions here. Like she looks cool. Maybe it's the length or they're not tapered enough on her. Something, something's not right with this. But either way, the coat is cool. I would wear that coat for sure. Elastic all around elastic. Well, I'm sure we'll be comfortable. All right, here we've got Vogue Easy Options, cardigan jacket. So these sleeves are super cute. I love this little wrap around detail. It's like collarless, which is nice. We've got a little dart right here. A little big in the sleeve though, if I do say so myself. And then we've got this other exaggerated sleeve. Cute. So yeah, this is a cropped version and then a little bit of a longer version. Cropped version again with no sleeve details, longer version with no sleeve details. Yeah, that's cool. I would make the shorter version just because things falling like right here on me, it's just like the widest, literally the widest part of my entire body. So it creates like a line, you know, a horizontal line. It's like, look how wide it is. I don't want that.  What kind of fabrics are they recommending? I wonder. Crepe, wool, flannel, gabardine and linen blends. This is the crepe. Oh gosh, I'm trying to even think.  I do like it in a solid, but a print could be cute too. Like a print like stripes or gingham or, you know, something not too crazy, but this floral one that they showed. I don't know. Oh, and shoulder pads. I didn't realize she had those, but yeah, there they are. Shoulder pads are not bad. Like don't knock them. They do create a nice frame here for the rest of the draping-ness of the fabric to kind of fall. So I don't knock shoulder pads. Just like, I think in the 80s, they went like a little crazy with the shoulder pads. Too big, too wide, you know what I mean? Okay, look at her. It's like a lace with eyelet trim. Okay, I can get behind that. There it is in its basic form. Forward shoulder with a little bit of gathering, a little mandarin collar and a hidden placket. Two sleeves, very Gucci. Maybe that was the inspiration for this. I think she has with some big sleeves. Cute with a little bow ribbon maybe. It's very dolly wood. Like, hello, I'm here. That's kind of nice. Again, going back to what I was saying, I can't remember what first impression video it was at this point, but the traditional with a twist, there's just a, I mean, the trim industry must be getting such a kick out of all these patterns with all these trims featured. There's definitely more than I've ever seen in one collection between the McCalls, like Baby Doll Dress that had all those different trims, that jacket we saw earlier in this video and now this. Very nice fitting. Got a yoke with some gathering. Look at the shaping is nice through here. Yeah, lots of options. I can see some cute stuff happening. I don't know about the black and white, but I could, I could see some people making some really cool options out of this. Ironically, I think this is my favorite. How will I do? Okay. Now we've got a look. It's like a new and improved toaster sweater. Right? Isn't that exactly what it looks like? It is super chic. I love this collar. And just kind of the shape of it in general. Some nice shaping detail on the sleeve here. I think this is a two-part sleeve and I think it might have pockets here along this seam. Yeah, that's really chic. And then we've got it without the collar. Is that okay? So it's definitely a two-part sleeve with a dart. I think she looks really cool. I love the cream and white. I just think that is just the coolest look in the winter. Nice. I like this top. I like the sleeve. The sleeve is very interesting. It is improved on the toaster sweater, which just has like basic sleeves. These are very high fashion. Okay. Another button up, Catherine Bren. Oh, with some interesting buttons. I look at that collar. It's like a wavy collar. Two princess seams, front yoke. Are these pleats or darts? And then some interesting detail down here too. Wow. There is a lot going on here with the three buttons and the one button. Y'all like that? Is that cool? It's kind of interesting. This collar is a no. Right? I don't know about that. It's a very big collar. Both of them are very big. Oh, and buttons down the back. It's one of those I think could be cool. I don't hate either one of them. Hate I would not have made the same choices. I think mostly it's just with the like the red button here. Like I wouldn't have done that.  But yeah, look at those sleeves. That's very interesting. This one's supposed to have a, oh, it is lower in the back.  I didn't realize that at first. See, it's like a tuxedo. Interesting. That looks like a placket to me, like it actually unbuttons if you want it to, which is interesting. Okay, Marcy Tilton, a little sweater. Is that like a zip, I guess? Yeah, with like a hood maybe? I see some drawstring and some athletic mesh. Okay. Oh, that's nice. It is a hood. I kind of like this for like casual wear it over jeans, like, I don't know. Is that, do y'all like this? I think I like it. It's hard to tell exactly what's happening here. There's definitely a drawstring going through it, but can you wear it as a hood? Loose, fitting, pullover tops have front pockets, back casing tie it, neckline and contrast variations is all they're going to give me. I like it. I think it's a cool pullover. I would wear it. I like this version a lot more than just the sweater. But yeah, out of like a double knit or plenty fleece sweater knit double knit. Yeah, cool. I think it's cool. Okay, now we've got a cute little dress also for Marcy Tilton. I like an asymmetrical hem, Dolman's sleeve. Well, I don't really see a waistband or waist seam even. See, this is how you do the whole knit. This looks a thousand times better than anything we saw in the McCalls. Wasn't that the one that had all the bad velvet outfits? Oh, look, is that contrast? Is that like Ponty? I think it is, but I can't tell. Yeah, that's definitely different. Interesting. Oh, see, they did a little stripe there. That's cool. Huh. Yeah, there is the contrast right there. That's neat. I mean, obviously you don't have to do it as a contrast fabric. You could do it out of the same, but I think they did a good job with both of them pairing the fabrics. And I don't think it would be that hard for you to do at home. Certainly not like that jacket. Like this has, you know, black and gray in it, so they just pulled out a black and gray stripe, right? And this is easy. This is just, you know, tone on tone. But with different textures, it's easy to play up textures in the same color. Cool. I don't hate that one either. I don't know if it's going to make it into my pattern stash, but it's cool. What do we have here? Catherine Brand, Mrs. Top Tunic, and pants. That is a leather baby doll dress, and I am here for it. I think that is super cute. Here is our top and pants. Oh, okay. Actually, now I'm a little less here for it. I don't know why. I think it's because now I'm seeing it as a jumper, maybe, and this is just too open. I like it a lot more in the first picture.  That's cute.  See, look how here, okay, I knew I wasn't losing my mind. Okay, notice this, how it's like close to her arm side and fits well, right? But up here, was that it? Well, maybe it is fine. I don't know, it looks different to me. It looks less cute. That looks cute, and that other picture did not look as cute. I don't know why. I can't figure out. It's just the angle, maybe, just the angle. But I think that the concept of, you know, a cigarette, knit, elasticated waist, I guess princess seam pant with a turtleneck with a little dress over top, which they're calling a tunic, is a cute idea. But I don't like the pants with the dress over it. I like tights like they have here, but in different fabrics. Even the over the is really cute. The pants could be good for something else. They don't look terrible here, to be honest. They look really good on her. They're like how slim they are. This line is really nice if you can get it to be straight. This is just sneak. I don't like that fabric. All right, here we are with a little asymmetrical jacket. Hello, holiday party. Office holiday party. When you're like the partner in the law firm's wife, you right? Drinking martinis or something. Again, a little bit of an 80s vibe off of this in the line drawings. But yeah, I mean, really great shaping here, two-part sleeve. This is just very 80s. But it could be cute out of like a bouquet, maybe wooden buttons or something. You could couch it up. All right, now we've got a dress, custom fit again. Ooh, that's kind of cool. And the sleeves are cool. I don't know. That's interesting to me. As is that. I like that less. Let's just say I like that less. I like that less. But her, I like her a lot. This neckline is really, I think, universally flattering, you know. And in its own way, I find it to be slimming. You know, they don't have any pictures of it on a human being, so it's really hard to totally tell. But yeah, I could see myself making this one for sure. I'd make it a little bit shorter. I don't do the mid-calf. I would do like just below the knee or even at the knee. This open sleeve is, I like that idea. This just with the huge long cuff. I don't know about that. And then that could be cute in the right fabric. You know, I'm not sure doing it all in a solid. She looks kind of like a blueberry. But side seam pockets, the same darts in the back as the front. No darts in the skirt. It's a circle, some kind of circle skirt, maybe half. Yeah, custom fit though. I swear, you guys, anything with a bow? I don't care.  And I would think it was the cutest thing ever. This bow with the hood? Yeah, totally. And this like, what, what sleeve with, they're doing this a lot. But this like, is it balloon? Balloon sleeve? Is that what it is? Um, I love it. There's a longer one without a hood, more just a collar. There she is. I guess that's just a longer version. The line drawings look ridiculous, but she looks really cute. So you just got to hope that you don't look like an oompa-loompa or a, I don't know, they kind of just looks like a shapeless, big, voluminous balloon with the hood up and everything. But raglan sleeves? With possibly, is that a dart there, maybe? Which just gives shaping to the shoulder, which is nice because there's not any shaping anywhere else. We've got two darts here. We've got a couple darts here. Side pockets. Well, they say side pockets here, but this looks like they're in the front. Anyways, couple darts here. That is really it. I think this is how it closes too. They're not really saying if there's buttons or anything. Let's go see what the notions call for. Very loose fitting hooded coats. Snap closures. So if you didn't want it to be as close fit or as loose fitting, you could size down a couple, which would help if it were a little bit more just slimming, skimming your figure rather than like 14 sizes too big for your figure. Just four snap closures, lightweight woolens, pontina or flannel. I don't know, I would make it out of a coating or anything really. You can even do this out of fleece, which would be really kind of cool, but hot. No pun intended. So I guess the snaps are, I don't know, in here somewhere. Does he even say what size? Nope. Yeah. Wow, a lot of fabric. Yeah, like, and I make a 14 and dress as usually. I might even size down to a small here. Okay. Very cute idea, though, with the hood and both. We're getting close to the end. Yep. And then just one men's shirt, which we don't usually review men shirts, but I love male models. But we'll just flip through them really quickly so you can see. Can I just say the length of this is really nice if you're going to wear it untucked. There's nothing I hate more than when guys wear their button downs untucked and they're like way down here. I'm like, no, let me hem that for you, please. The fabric contrast is interesting. Okay, so there we have it. That is our Vogue Fall first impression. And I think with this comes the end of the big four, the end of the big four fall patterns, they've all been released. We've done all four of them. Simplicity, well, simplicity, butteric new look. Or did they do butteric yet? Maybe not. Definitely McCalls. Definitely Vogue, obviously. I can't remember if we've done butteric or not. Either way, I am going to put at the end slate of this video, the playlist of all the first impressions that I've done so that you guys can look if you've somehow missed any of the other fall first impressions that I've done that'll all be in that playlist so you guys can watch them there. And I'll keep an eye out because we will have, I feel like winter coming pretty soon. Some of the design, some of the companies even do like early fall, late fall. So early fall and then a fall slash winter. So we might have some coming out sooner rather than later. But for now, that's going to do it for me. And I will see you all very soon. Thanks for watching. Bye.


As many of you know I have a second channel which primarily focuses on hardware and currently I'm doing a series on serial port hacking and lately we've been looking at a PogoPlug device and at the PogoPlug device there is a vulnerability that you may or may not be aware of and if you have one of these devices you probably want to know about it so you can either use it to gain more access on your device or you know of course fix it if you can so go ahead and check out there should be a link in the description of this video or coming up on your screen here shortly check that out and as always I hope that you have a great day