Welcome everybody here back to Segal Talks at the Martini Segal Theater Center, the Graduate Center CUNY here in Manhattan. And it's been a complicated time, of course, for many, many weeks and months, things are becoming even more complex. Shootings on the streets, riots, for very good reasons. The racial tensions, the unsolved problems of this society are becoming openly visible, more than before, they were always there. And coronavirus really served as a microscope that lets us observe what we do. It's Richard Schekner compared it to a nuclear reactor that burned out, the roof is open and now we see often this horror, what is happening over 100,000 deaths. One out of four American out of work, official jobs, this is an incredible numbers. And so things are out of joint and artists, as always, over centuries have been hit hardest first in such a upheaval in society. That's why art is significant. It detects early on what is happening, how reality is outside. Often we do not really see right away, but artists are able to see it. They are often foreshadowing in their work, anticipating what might be coming in the histories of freedom and the fight for freedom and the history of liberties. Art has been on the right side, has made an enormous contribution to know that life and ideas are up for discussion, that you can view with things from different sides, that the literal interpretation often is deadly and that there are higher laws. And we have to listen to, as Antigone taught us earlier in one of the oldest plays of mankind, that there are laws of the moment, but there are also eternal laws, laws of human significance of mankind. And that is what she did when she followed her own voice and not the political rules. And we have been talking to many, many, many artists now in over nine weeks, many great artists all around the world from all continents. And today it is our privilege to have with us a speaker from Hong Kong, Hoi Fai Vu. And we are happy to have him here, Carol Martin also said, you know, this is one of the artists you really, really should talk to and should talk about. And so we're hearing now from a second time from Hong Kong. I don't see Fai at the moment on the screen, but maybe he is reconnecting. He's an artistic director of the Pence Theater in Hong Kong. He's a very significant member of the Hong Kong theater scene over decades. And he is deeply involved in the arts development, art management of the scene has received many, many, many awards and as a director also he has put his ideas on stages and Bogart said in the talk this week when she said, you know, we see how a brain is on stage and on inaction thoughts that become actions and it's an important form of participating in life instead of writing it on a paper or painting a painting it's thought that develops in front of our eyes we look at it the distance between the things that reflect on us so Fai, thank you so much for joining us. Sorry about my long introduction and but where are you right now and what time is it? Well, I'm in my office in the studio of my theater company and it's about midnight we are 12 hours ahead of your time. So just a new day started in Hong Kong. Yes. So tell us a bit what's going on. Of course, big news we come I come to that later of things but what is the situation in Hong Kong at the moment when it comes to Corona. Well, in terms of corner is a is better in fact we we still have some cases but they are all imported cases and local cases we there have been for two weeks we don't have local cases. So it seems it seems getting better now and everything is going to resume. But unfortunately, yeah theater is not well, I think hopefully by the end of June, we can have live audience, but yeah, not not to meet June. And unfortunately, I originally I scheduled a production to be performed in from 12 to 14 for June. And just last week just a few days ago. Well, we were informed that the production can't have what the theater allow us to get in the theater to do rehearsals, but they were because the theater is a control control by the government and the government orders that that we can have live audience. It's a very impact quite ridiculous situation that we can go into the theater only for rehearsals, but we can have live audience. Yeah. So, at the moment you don't have restrictions you can go out on the street you do you have to wear a mask. Restaurants. Yes, they have certain restrictions like in the restaurants only eight. Well, at each table can only serve eight people. But somehow is because the situation seems getting better so is well getting loosened now. One month ago is still very straight. It means that there will some some offices will go into the restaurants and check and if they are not stick to the rules they will issue warnings or yeah even fine. But now is well because it seems everything is getting getting back to normal. So, yeah. So I think we all think Hong Kong, Taiwan, especially Singapore also South Korea, they did fast measures had a very good system in place after the SARS virus. So did you felt in a way your government in that in that situation when it came to Corona it that worked well and everybody followed. I won't say I won't say the government works very well. It's all because of the order citizen speak because SARS the memory, although it's already 17 years ago, but it's still very vivid in our mind, so that we did we did learn hard lessons from that. And so everyone is in Hong Kong we have. Well, we are quite disciplined ourselves. So, everybody will wear a mask quite as soon as there seems to be there was an outbreak. So, yes, I think it is because the situation is getting control so soon. I think because people are very well disciplined and sometimes a bit over discipline. But yeah, well, so that's why we react. The situation is under control. Yes, the government has done. All right, I won't say this is super super good, but of course not too bad, but I will give the credit to our Hong Kong people, not the government. And of course you have the tradition of wearing a mask. It's not as foreign as to Europe or to North America, where we don't have that experience and where we always saw people are wearing masks because they are afraid to get infected but actually people were wearing masks because they felt they had an infection, a cough, a virus and they did not want to share it. And so you were ahead of us in that way and politicians haven't been paying attention, of course, to the health crisis is catastrophic in the US and also many other countries of Mexico, Brazil, Spain, but I think we also, we as people, we ourselves perhaps haven't been as careful and no longer were thinking about the threats. So I think you guys were... I think it's because we sort of have different mindsets, I think in Hong Kong, because people say that you are, you view wearing a mask as well, only a patient will, well only a person who has sickness will wear a mask, but in Hong Kong we were after SARS, especially after SARS, we don't view it this way. We think that is a kind of protection. So wearing a mask does not mean that you have caught the illness. So I think two different types of mindset, yeah. So how is it for theater artists? Are you getting support from your country, from your communities, from your cities? Well, the government did make some allowance for us, but it's very minimal. For example, like, I think last month they had, they gave a plan that you can apply for some funding, but the maximum amount is only, well, 7,500 Hong Kong dollars. And well, in terms of Hong Kong living standard is very, very minimal, I would say. Yeah, so how much is it compared to US dollars? 7,000, is around 1,000. US dollars? Yes. It's like a one-time payment. It's a one-time payment, but it's supposed to last to help you through several months. Yeah, it's not possible. And now societies have to show their flags and see where the support for the arts that are so often written. On those flags, but now they really have to show them. How is it for your company? So what are your members doing? Are they at home? Are they working? Will they be rehearsing for that show where you say, we can do it, but we have no audience? How are they doing? Well, I think in February and March when the situation was really severe, we had to stop even rehearsals. But now after, I think in starting from April, we slowly getting back our pace. And because we assume things are getting better and it seems really things are getting better. So, well, to put on a stage show, we need time to rehearse. So we can, when we project that in July or even in June, we can really stage a production. We had to start rehearsal because as I said, our coming production is in mid-June, so I had to start rehearsal in April. And yes, in the beginning of, in the beginning phase when we had rehearsal, all the actors have to wear masks and it's a bit difficult for the director to see, to give comments when all the actors are wearing masks. But we did have to cancel or postpone some shows. We had a performance in February and then that has to be postponed to July now. And well, hopefully it will be done in July. It can be done in July. And then we had another stage reading performances in March. And then we had to cancel that and then at first we think we can do it in April. But then I think around the end of March, we were hit by the second one of the virus. So we had to stop the, we have to reschedule that again. And later, I had to reschedule that to May, but then it was still impossible to do it in the theatre. So I had to change it into a live broadcast on the internet. Yes. But the problem is we, there was one play I want to do in the stage reading section that is indecent. Paula Vogels indecent. I think you know that play, right? Yes. He came to the Segal Center with an evening with her. Great. So at first as I said, we had to reschedule it from March to April and then to May. And then I decided to live broadcast it. But then I got the reply from Paula's agent that we can't do it through live broadcasts because the copyright has been sold to a company. You know, the stage version, the Hollywood, the Broadway version has been sold and it's now broadcast on the internet. So Paula can't give me the rights to live broadcast it. So I have to do it live. And so, and then at first I was really, really worried because the situation in Hong Kong is like that we, well, that's more commonly like as we don't have regular actors. So every time we have to get the actors project by project. So when, when, so the cars that was involved in the stage version of indecent, they, I was afraid that they had already commit other things in, for example, in June, in July. I was afraid that I can't really find the time to, to do it. But luckily I finally I find the time to do it in next week, next weekend in my own studio. So I don't, yes, I can still do the play. So you're going to present a show in your own studio life. Very small number of audiences. Yes, very small number. How many people will come? Will people wear masks, actors, audiences? The audience, we will require the audience to wear masks. And but the actors won't wear masks. Because as I said, now the situation is getting better.  How many people will you let in? Only 10. 10 people. And how many actors will be involved? Seven actors. Yes. So it's almost equal to the number of the audience. Yes. It's interesting and makes something also unique and special. Yes, it's only, well, well, I think the play in decent teaches me that we, we need to do it even in times of difficulty. Yes. Yeah. So, well, anyway, I'm glad that we can find a solution to it. Yes. What is the philosophy of you as a theater maker and your company? Why do you do theater? What is your work all about? Well, now my theater company, we have sort of a mission that we are within the stage, but we keep an eye on the society. And it means that we want to do some productions that will encourage the audience to, when they walk out of the theater, when they have seen our performances, they will think about some issues we in the play in the production. And that issue should be related to our everyday life, should be related to the society. So for example in, and that's why I think a few years ago we have to start to focus on documentary theater. Although that's, that's not, not the only thing we will do, but documentary theater is a, is a major thing in my theater company. We have done some translated documentary theater works like learning me project growth in decency and yes, translated documentary theater plays like that. And we have also done some original documentary theater works like 1960s, 1967. That's the year, a very important year in Hong Kong history, when there was a big riot happening in Hong Kong. And it lasts for almost half a year, yeah, from mid 67 to the beginning of 68. And that was like a taboo in Hong Kong history, because that is the, the riot was, the riot start, because the, you know, in the 60s, Hong Kong was very corrupted. And all the, we, we don't have the ICAC, I mean the department that fight against the corruption with, we don't have that department in that time. So the police force was very, the police force, the fire, the government are very corrupted and the situation, especially the lower class in Hong Kong are very, the poor people are really poor to the situation. So, there was a lot of anger and discontent in, in, in the general public. So, in, so in 1967 there was a seat in a protest by a factory by some factory workers because the factory boss has had, has imposed some very strict harsh conditions on the workers. And the workers try to fight for a better, well, working conditions. So, in the beginning is a sit in, and then the leftist in Hong Kong, you know, the Communist Party in Hong Kong, intervened and try to back up the workers. And then, and then the police, well, because the police took the side of the factory boss, and then they cracked down on the workers. So it'd be so the police and the Communist Party clashed and then things become escalate. And up to a point where I just give you some figures that in that half a year, nearly more than 8,000 bombs were placed in Hong Kong. Wow. And, well, of course, no, not all of them are real bombs, but more than 1000 are real bombs, and some are fake bombs, but just these figures will give you a picture how, how extensive and how big the scope is. So, as I said, it was a taboo when I, when I grew up in Hong Kong, because you know, as I said, it's a, it's because of the corruption of the British government at that time, the British colonial government. But so before 1997, the British government did not want to talk about it, because it's, as I said, it's not because they were corrupted. And then after 1997, the left party, the Communist Party, didn't want to talk about it either, because at the end, you know, it's about how the riot died down. It's because at the, towards the, towards the end of 1967, when they, when the lefty, when the leftists start to place bombs on the streets, you know, people's minds, well, people's sympathy towards the leftists have vanished. So the, the general, the general public becomes think, well, they start to think that, well, is, is, is not good yet to use such violence. And in fact, some, some innocent people were killed by the bombs. And so people's attitude towards the, the leftists have changed. And it, I say that you have left a scar on the mind of general Hong Kong public. So starting from sixties, I think when, when I grew up, we had some, we have already some, we have already had negative feelings towards the Communist Party, especially after, after this and also after so much information about, for example, the racial revolution and the stuff like that we, we start to learn about that. So we have some fear already in our mind. So, so after 1960s, 1997, the new Hong Kong government backed up by the Mainland China Communist Party. They didn't want to talk about this history either. And so that's why I say it is a, it's a taboo in Hong Kong history. So I think documentary theater and when I learned, when I learned about this particular form, I think I was attracted by the, because I think it, it, it, it created a bridge between the society and theater. So, and I think it is a good way to find out what is the truth in a particular, well, period of the history, especially something about like 1967 when, you know, different sides have different takes on, on this particular instance. So, in 2014, I made this documentary theater work in 1967. Yeah, so I think it gave you an idea of what I'm doing. Mm hmm. So this documentary theater or as Carol Martin wrote about or coined, you know, the seat of the real. Yes, yes, you feel this is a tool that is working in Hong Kong. Yes, at least for me. Yeah, I think it helps me to, to understand the situation in Hong Kong, especially now when the situation is so, so fast changing, you know, and and when I look at the, of course, I also got some encouragement from the audience that, for example, like 1967, when I look at the questionnaires by the audience, they gave me a very positive feedback that it helps them to understand this important part of history in Hong Kong, because it's not what is mentioned in the Hong Kong text book, but there's only a few lines about it. And it didn't say much. And so, yes, and I think, as I said, is, is, but this history really affects how we view how we look at the Communist Party, how we look at the leftist in Hong Kong nowadays. And in fact, the, the reason why I did this play, one of the reasons why I did this play was because of this, you know, when I did it in 2014, just before the Umbrella Movement, I think you've heard of the Umbrella Movement. Of course. Yeah. Yes. And I, I, well, you know, the Umbrella Movement, I would say it's not, of course, it happened in, maybe say a few words for our listeners who might not know. Oh, yes. It's, it's, well, it's in around, it happened in, in September 2014 when, you know, people in Hong Kong, we want universal suffrage. We want our, yes, we want out to, we hope that we can have a vote to, to get our own legislative council members and also our own chief executive. So, some people start to think that we, we, we can do a sit-in in, you know, in, in central, that's the main economic and political center of Hong Kong, the central equality. And then people want to do a sit-in and, well, a bomb violence protest. And yes, but you know, the tough moment that this happened. So, they, they, they take, they want to take the protest, protest us away. And then people start to fight and then at that time people start to use Umbrella to, yeah, to fight against the pepper bullets and also the tear gas. And so it becomes a symbol for, for that movement. You can say revolution. I think there's a very symbolic picture in, in the times when in the cover of the times. Yeah, when a protestor, protestor holding an umbrella amid the tear gas. So that's why that's the umbrella movement. You know, we umbrella movement happened in, in, in September, in one day, but in fact it's, it's, it, it, it did not just happen in one day. It's, it's in fact an accumulation of the audit discontent audit is all the anger of Hong Kong people against the, against the government for 20 years after, after the handover after the 1997. It's an explosion at that time. And I think a few years before the umbrella movement when I, people have, have started to talk about that. Well, the situation in Hong Kong was like the eve of the situation in 1967 before the riot. So people start to compare the two things, the white in 1967 and the, the, the coming, well, the coming protest of the umbrella movement. So I was born after the, I was born after the 67 white. So I was wondering, what's the similar similarity between the two, what's the difference between the two. So I really want to find out, I want to find out the answer to this question. And I think the best way to find out the answer is to talk to people who have really been through that period. So I start to talk to some, you know, naftis who were students at who were students and then who were thrown in, who were thrown into prison in 1967. And then I talked to some, well, we tied policemen. And then I talked to some scholars about, well, the scholars on this particular subject. And, and of course, the general Hong Kong public. And yeah, try to put together all their views on this history. And I think it helps me at least help it helps me to, to get a clear idea of what's happening at that time. And why we, why, why we have this feeling or this fear towards the mainland China in this particular time. Yeah, so yes, so I think I think it helps and I continue to do this thing in Hong Kong. So it's a deep engagement with history. I mean the word story of course isn't history in itself. So but your search for truth is then in the documents it's in interviewing and creating a version on stage that shows your your view of history that is not the official one. And do you feel that your theater work and this work of your colleagues in Hong Kong in theater where they are hard and of these fight against injustice fight against in a way of oppression or taking away liberties. Is there a connection or do you feel it's an isolated theater companies are a bit more isolated and people don't come or it's not as significant hours. How is theater what's the role of theater in Hong Kong. I think in general in Hong Kong the theater, my colleagues we are all what you know I don't want this as over as a simple simplification of the situation but you know in Hong Kong we, we have this label now yellow and blue. I don't know, you know, well that's like the yellow means the liberal and then the blue means the conservative and the pro establishment that blue. But to put it things in a simple way I think that general in general my colleagues are all yellow, I would say. Yeah, we, I think we all understand that without freedom without. Yeah, an open environment theater won't survive and won't thrive. So, we were especially nowadays we, I think that they were starting from last year we have easy comments. announcement. The commission of our situation of our stand against, you know, the, against the government's suppression of Hong Kong's protesters so. In, in terms of our production or in, or in terms of our performance in terms of our styles we have a variety of styles. Documentary theater is my, is my take and of course there are some other colleagues who are also interested in this form but we, we try to tackle or we try to tackle the situation in different ways, I would say. So were you participants versus theaters in participating in the demonstrations that which we all looked at it went around the world and I think the world's eye over the world that's perhaps closer to the world of liberties and freedom is very concerned about Hong Kong and were you participating theater artists participating in the demonstrations. Yes, of course. Yes, you know, as I said they were they have been starting from it's already a year. Yes, and I think more or less all of us have been to more than one demonstrations, you know. You know, we have social media moves of the time Facebook is quite popular in Hong Kong. And every time when there was a demonstration by Facebook has been was was washed by my colleagues because everyone was giving some message and asking people to come out and sharing some photos in during the the demonstration during the demonstration. So it's office that we were we, everyone of us has been to at least one of these demonstrations and So every theater artist smelled the tear gas ran away and and put in a way also there they are there their life and well I think we have at least one or two this kind of experience. Yes, and yeah, it's a it's a sad situation, but that's the that's the truth, I would say. And I know some of our colleagues were in fact, a West. One of my actors in the production last year was a West and what happened to him. He was in one of the demonstrations and and then he Well, of course I can't say much but I was I wasn't in that situation and but I don't think he's a violent type of people. So I think he just went away and then he was and then he didn't want fast enough and then he was caught by the police and then I know he was really charged of being involved in the riot. You know, so yes, yes, there's I've heard of some, not at least not one not not not just one incident. Yes. So, well, he said So, do you see your theater as an as a work of activism or political work during those riots would continue to do theater we say we pause this and we participate in the movement on the streets what what role do you think the theater should play in such times. Um, I think that there have been times that we will especially during last year there have been times when we really had to stop rehearsals, because for example like we think we should go on street to participate in the demonstration instead of rehearsing in the studio. And there have been several times like this, or during rehearsals and then we found that we heard that there was a series clash between the protesters and the police. It's just the our studio. So I think we better evacuate and so there have been situations like this. But I think I will try to look at the things in various ways I think is I would say I'm, I'm, I'm I'm not using the theater to provoke the particular person or particular government body. Of course, I'm not using theater to please them. Either. And I think to me theater is a place for me to think. And I would also like to use theater to invite the audience to share my thinking and then to think with me. And then we try to find some answers to a particular questions. I think that's the role of theater to me and I am I don't think is what I don't think is is that what the major function or at least to me I don't like my theater to to to be a tool to point a finger on a particular person or a particular body. And Yes, so so I think they are because it's very dangerous if you use theater to just to to promote your own ideology or or your own statement. Then, you know, the the tyranny that the totalitarian government will use theater in this way. So it's a very dangerous position to take, I would say. I want to have my theater as a place to to invite the invite the audience to think together. Yes. Hmm, it's a beautiful image that we have the audience come to the theater to sing together with you in that moment. When you and how how how is it in like freedom of speech. The new maybe we should go to this new announcement that came from China where which is also so big on the headlines here and about new laws and that will supersede lots by far what Hong Kong protesters were protesting against. Do you feel this will be a new phase of taking away liberties your liberties as a theater maker will you be able to do your work how you want to do it. I think it's definitely changing. But the the the set situation in Hong Kong is that most of the resources in the center were controlled by the government. For example, like all the theater nearly 80 to 90% of theater of theater venues were controlled by the government. So as I said, for example, like in this situation, when as I said by by I have a play coming in mid June in the next two weeks and we we can't with the situation seems better and we a week ago I was still hoping that we can really do it in the theater and have live audience in the theater. But then the government said, No, we you can't have live audience. Then we have to there's no way we can do because the theater was controlled by the government. So I think that's the set situation. It was politically motivated that they said you can't do it is a political decision. Some people say this because my play is going up that the play I'm going to put on is called 2047 multiply eight. It means that I in fact it's already I planned it a year or two ago. I invite eight playwrights, some are more senior, some are fresher and I invite them to white play on white short play about 2047 Hong Kong. What they project When those 50 years are over supposedly freedom. Yes, and then yes, and then I put to get to all the eight short plays together in one night and so people so that's why in fact I have some I have heard some people saying that well was it a kind of censorship that they try to stop you putting this on stage and well I I try to think it's not I try to think it's not yes I I but I was I hope that is our best intention of the government to really be very cautious about the situation so not open the public venue in rush way and I try to think in this way yes because you know the theater situation in Hong Kong I won't say the theater is not that popular as the film industry you know we have compared to the total amount of population we have quite a small number of regular audience in the theater and so I always think that is I don't know whether it is lucky or not but we because we only entertain a small number of audience so that the government won't bother to mess with us you know so up till now theater companies like us can still survive for example like last year I have done a play another documentary play about a very famous politician in Hong Kong that's called his nickname is long hair and he was a famous politician and he was a famous anti anti-expletive establishment politician and he will well he will for example when he was a legislative council member he will throw things in the meetings and of course it is only a kind of gesture and when I got to know him he is not a very gentle person he is not a violent person but it is only a gesture to attract people's attention and so he was famous for this kind of violent behavior in the legislative council and that production was we got subsidy from the government you know the laser and cultural services department that is the major department in the government which is responsible for the us or theater or performing us related things we got subsidy from them but now if I submit this application now I am really not sure I can get subsidy so well the situation is is not optimistic yeah that's interesting it is an economic censorship as we hear from Hungary you can do the festival but we won't give you any money so there is of course a political agenda behind it we heard from our colleagues we were protesting he said 400 people he thinks intentionally police was instructed to frighten people and people were demanding changes a million women came out on the streets and he says 5 days later Covid came and the government shut everything down the same police were shooting as us now pretends to protect us but he says very clearly the same the Covid crisis was used also to silence the voices what is your impression of this new legislative initiative from China that was announced a few days ago which seems to be openly against the agreement with the UK for the 50 years will the Covid sanctions be reimposed will people go back on the street what is your evaluation people have gone back on the streets just a few days ago last Sunday there was a big protest on the streets and more than 300 people were arrested so yes airports were occupied that much larger context and the demonstrations now what do you think will happen I think the clash will escalate especially when the one year anniversary of the 12th of June is coming last year on 12th of June people were people went into the legislative council the protestors there was a major significant date in the history of this protest so I think when in view of this this day is coming I think the violence will only escalate and until upon that people will die and I think we don't want to see this thing happen but that's the outcome possible outcome and when people die in one way people will be silenced of course but the anger will be there forever and yes just like the June 4th in Beijing more than 30 years ago well in fact when this movement start and escalate last year people have started to compare this to the June 4th movement in Beijing for example in November when there was a big clash between the protestors and the police in the universities in Hong Kong in the two universities the Chinese university of Hong Kong and one is in the polytechnic university and the comparison between June 4th and Hong Kong situation was very comparable and well we no one would want to see this thing happen but it seems this is a no return way so you think a point where you could return has been crossed and what will you do as a theater artist if this continues if the clashes get more violent what will you do what should a theater artist do in that situation what are you thinking about how to react we have to make our stand very clear and so as I said we have colleagues have given kindness, announcement or declamation on our stand and I think we have all signed a lot of this kind of declamation and I think what we can do as a not just as a theater artist but just as a human being I think the best we can do is try to I think life is more important somehow in a way to really persuade people not to sacrifice so easily I think sacrifice in a meaningful way is good but I think it's it's no point in sacrifice in this meaningless sacrifice I would say yes and I think that there will be some way to to overturn the situation but maybe not upon us it may for upon the well if I if I if I have this ability to overturn the situation I won't be here but I think we as a theater artist like what in decent have taught us we have to one of the major things we can do is to keep the spirits going on like in decency you know I think the most loving touching moment is at the body and towards the end of the play when you know the two girls the two characters the two lesbian lesbian characters were escaping from the line in the concentration camp in the mind of you know the stage manager and I think to keep this spirit going on to to to try to keep it not dying I think that's one of our major responsibilities yes the theater has to be on the side of life and then we also have to be pragmatic and we have to be we can be and we have to be a torch in darkness I would say a candle or torch in darkness and that's what we can do yes yes what motivated you looking going back for your own life in your own history when you said I am going to do theater what was the moment when did that happen you were born in Hong Kong yes I was born in Hong Kong in this city where you live now and you say my contribution to this community I will be theater my theater work through theater of the real of the documents telling the truth looking for the truth what made you do that I think in the beginning it was when I was studying in the secondary school I was in a boy school and we didn't have a drama club at the time but one day I was in a Catholic school and one day because it's a kind of anniversary the school's anniversary and one of the teachers want to put on a drama about a saint in a Catholic saint and he's written a play about this real person and then as I said we didn't have a drama club at that time but I was involved in some public speaking contest and or debate or debate contest so the teacher thinks oh you you won't be shy from being on the stage so that he picked me up to get on the stage to play this main character and of course at that time is when one was young is the kind of attention I got from the teachers from the fellow fellow students made me want to do more drama at that time so and then I was getting into the university and my major at that time was English and my classmates said you are not majoring in English you are majoring in drama because most of the time I spend my time in the drama club instead of in the class so at that time I realised that I was very enough with drama with theatre because I found this kind of opportunity to really work together with a lot of people and in the beginning I tried all the different positions designers, actors and playwrights and stage managers all the different positions and then I realised that my technique is in directing so I enjoy the joy comes from the fact that I am leading a team it's like playing in a football team so you are working together with all these different people and then we are trying to create an artwork and then as a director I can have the luxury of sitting in the audience in the auditorium and feeling the breath of the audience feeling the situation of the audience so it is it gives me the pressure of being like visual artist, I look at my work and it's finished and it's communicating live with the audience so I realised that I like theatre, it's kind of communication so that is interesting so the story of a saint was at the very beginning, what kind of saint was that, do you remember? I think it's I really forgot it's a sing sing sing sing or I forgot it's a male and I really forgot the story well anyway so it's interesting it all starts because of that saying also that connection of theatre to a spiritual life and the origins of theatre are very close to that and that we share these spheres and we interpret words and show them and perform theatre perform magic, that's why theatre also often was forbidden because you did ritualised actions on a stage that have a symbolic meaning like a real one, so what you do is of real real importance and will you find ways to include this experience of that Covid crisis and you also were in confinement, if I understand right you spend time alone, do you feel something changed something happened, will you use something that came out of that time, did it make you a different person? Well definitely that time has helped me to to read all the books, I haven't read for the entire time to read and it gave me a lot of ideas new ideas to make new plays what ideas what are your new ideas well for example like a book called Fetch with Girls is about the situation of the Fetch with Girls in mainland China well this and I read another book the English book is not here but there's another book similar to this it's also about the situation of the factory workers especially the female factory workers in mainland China starting from 90s I think it can be a very good material for musical well you have a factory a fixed scenery and you have a lot of girls and some of the stories in the books are really touching and amazing so I think I'm juggling with the idea of adapting it into a musical that's one thing and another play I have with this one, are you now or have you ever been it's a very old play by Eric Bandy it's a documentary play it's about the you know the investigation of the show business by the American Activities Committee during 1947 to 1956 I'm very interested in that that bit of history in the United States because I think to a lot of people the United States seems to be a very liberal but that the McCarthyism period is a very interesting period for me of course Arthur Miller has written something about it but this play, this documentary play by Eric Bandy well it makes me think of the situation now in Hong Kong I think one day we will have this kind of activities committee maybe Hong Kong activities committee I think we will have something like this one day so we better get prepared time to get prepared so in a way you look at class working class situations to turn focus to society is something we really should look at the conditions of factory workers France did great work Nushkin's very first work the kitchen was about women so this is an important turn next to the other documentaries also yesterday Patricia Cornelio from Australia said I'm so upset and what about these people the minorities, the working class, the race we have to tell these stories and be brutally honest and not try to please us or others and I think your work also goes there and to America that seems to be so easily condemning China what are our own histories and where does that fit in but it is a bit frightening to think that this McCarthy era will come to Hong Kong that there will be blood and death on the streets of Hong Kong that seems inevitable and that as an artist perhaps sometimes artists are like dogs on the highway they disturb the traffic but you run over right away from the cars but they see something that is nature or that is life itself so it's a complicated time for you there and we really think about you and what solutions you found what inspires you, what do you have working in Hong Kong what are the significance to you I would say maybe in terms of documentary theatre Laramie project was my it opens the door to me Laramie project Laramie project of course it opens the door to me I didn't see the production I was informed by a colleague who has seen the production in New York in 2001 and he was amazed by the work particularly amazed by the process of the work and he told me about the process it was the first time I heard about this term documentary theatre because when I was studying in the Hong Kong Academy for performing us I didn't teach documentary theatre it's unheard of this particular term so I was attracted to it because of the Laramie project and right now I would say a lot of different people can inspire me like for example Mino Rao Mino Rao when many political people they have done some interesting work but I would say I would say they helped me to try to think to push myself to think more to always find some new ways to tackle a situation for example after 1967 I tried to because in documentary theatre most of the time you start because there is a particular incident you want to find out the truth about a particular incident like Laramie project there is a murder so you want to find out the truth like 1967 because there is a riot I want to find out what happened so you have a particular incident to that then I think is it a must so I made another two works one is on real estate agents one is about the journalist in Hong Kong so in these two works I didn't have a particular incident I just want to focus on a group a particular group of people so can I make a documentary play just from talking to this particular group of people and yes so I think for example we have many protocols I think it is interesting to see how they think about an issue they will always find some interesting angle to go into to think about an issue I think that's the way I have to learn from them and I can't just copy their method I have to try to put it into my own context so for example what about art in Hong Kong the work I did last year towards the end of last year in December last year and I try to use a little bit of thinking of the immersive theater this very popular term nowadays and try to put the audience into a direct interaction with the cast with the actors somehow so I think that's an interesting take but I think it can't, not every production can use this form and for example another production I'm going to do by the end of next year hopefully if I get a subsidy will be about social workers in Hong Kong I want to talk to the social workers in Hong Kong the reason why I want to talk to them is especially last year in the beginning of this protest the social workers become their role becomes quite prominent even some social workers will really go into the battlefield and then stand between the policemen and the protesters and try to try to soothe the situation of course in the eyes of the policemen they think they are not soothing the situation they are aggravating the situations but there are some really brave social workers who have been doing things like this so I'm interested in talking to them to really know what's in their mind and so I think for this particular production maybe immersive theater may not I'm not sure now, it all depends on the materials but I think it may not be one of the tools I will use so I think this kind of mindset being always in question and challenging yourself is important to an artist do you feel connected in Hong Kong to the global theater world do you feel world pays attention to the work of theater artists in Hong Kong yes, at least for example last year when the protests was really serious and I got emails from people in Australia people in Germany colleagues, artists in Germany artists in Australia who will ask me about my situation in Hong Kong so I think people are especially now when social media is so popular internet was so popular we are still in the spotlight I would say that's really fortunate that's really important for you for people outside Hong Kong to keep an eye on this situation your concern will help so it will be important for the international theater community to stay in contact and be with you maybe for the remedies of this world maybe go to Hong Kong and help you in a situation that is existential as it seems from here your actors on the streets are arrested and the censorship that will not only just look at the actions but in people's minds there are dangerous predictions and I think we should find ways to get engaged maybe invite them and also be there towards the end from your experience and I know we have younger artists but also emerging what do you say how should this time, which for you almost is over should we work use best, what was meaningful for you and what should theater do coming out of this corona crisis and what should the stand be that theater takes wow a big question I think the two things I have talked about during our conversation one is always to think that you can be a candle in the darkness I think this kind of spirit is very important and I think try to ask the audience to think with you is important because especially nowadays when it's so easy to get somehow so cheap to get entertainment to be entertained but I think theater of course theater can be entertainment and theater should be entertaining but I think that should not be the only thing, the only function of theater and so I think to really to ask yourself to be more than entertaining is important that's that's one thing and to challenge yourself always to find some new ways to challenge yourself I think is important and I better not name names but you know there have been some masters I worshiped when I was young some master artists when I look at the textbook it is wow they are really good but when I really have a chance to see their work in the theater maybe the first one, the second one the first few ones I was still thrilled by their works but then after a few I think it seems that they are getting well they are only repeating themselves and it's sad to see these things when an artist couldn't find new ways to couldn't escape, couldn't let himself go out of his own out of his own box so try not to be this kind of artists try to be challenging that's important thank you this is truly significant and everybody really should take it to heart and also coming from you in this moment in between corona and the new political situation where uncertainty is for you it's more of a higher potential for us we are not really used in the western world in the American world of uncertainty if you live in Africa, Palestine in Ukraine you live with this it is new for you to be in the middle to grind the people this is quite something your advice is serious, your work is serious and we admire you for what you do it's a great contribution to world theater, global theater you stand in line of great theater makers from Piscator and on to so many others who have started this work looking for the truth and the way of the documentary of this theater of the real theater is a house, it has many rooms and documentary theater of the real is a significant room perhaps a room that at the moment has answers and approaches in the variations of a remedy protocol as you say that are really good answers or perhaps they even have the better question and I like your idea to say theater is the space where you think together, you don't entertain you don't consume, it's a place where people come and think together so hopefully also our series is about listening and about thinking I think it's something we can do in this time also with our bodies perhaps we all listen a little bit more careful than we normally do so really thank you for taking the time so past midnight past one o'clock and to our audience also really thank you for tuning in after such a long time now I know some come back it's now nine weeks but we also hear that once in a while we talk that's being caught but that makes it makes a difference in the lives and it makes new connections so this makes us of course happy but we feel it is an important duty now for us to listen to support artists give comfort and also really to support and encourage and this is our message to you and and we think of your work in Hong Kong and it represents something very very special so we at the Segal continue again for next week and we have the line-up together it always takes a while to put it in but Monday we have a significant artist from France we have Emmanuel de Merci-Motta who is the director of Théâtre de la Ville and also runs the great and legendary festival D'Autonne and who knows what will happen in the festival D'Autonne we know the festival is cancelled the greatest perhaps the liberation of theater in life and from the scope and Emmanuel will tell us a bit about the situation in France where things also are reopening as we speak theaters, movie theaters and it's a big experiment and we will see what will happen South Korea is now taking step back again so we will see Ralph Pena from New York to talk about his Asian-American theater company a great contribution he has made over decades and now the challenges his community faces and if we have learned anything minority groups have been hit hardest with everything over centuries in countries over decades and now with the corona they are the ones who are on the front lines we had African-American playwrights who said our families getting together on making their wills we don't have money we don't have health insurance our people are the ones who work in the hospitals who are in the service industries who are the delivery drivers and we have no choice and we are the one getting hit and we don't know what will happen Wednesday we hear from Israel and we have Ruth Kenner the great Joshua Sobol Maya Aranya Soor all three of them three generations of Israeli writers who hopefully will help us to get an insight in the complex histories of theater of Israel and also the state now of COVID-19 seem to have been very successful there in that team but you know what is theater what does theater mean at that time so this is important Avraa Sirui from Greece great scholar who also has been at the serial center director also works at the university she will come and tell us about Cyprus and Greece the situation and there were also the histories of migrants and refugees so much more urgent because of the geopolitical location of the country and Ashley Tata from New York City who just did a very beautiful production of work of art I think on on screening where she invented perhaps a message to combine the theater play and the film but it's a play in its life and together with her collaborators they some software encodings they she found a way to save a piece that was supposed perhaps not to go online and not to cancer came out of Bard College but Gideon Lester as we understand Wright said no go on we pay you anyway do what you want and she said I'm going to find a way to do this work and it was a quite astonishing work I think so we're going to hear about that work she's also a student of and Bogart so it's another generation trying to work with the challenges but also is this new medium where we are both on now I remember a thing a hunch and say who said you know we all thought cyberspace isn't real and now it looks like it's one of the real spaces left here where we communicate so thank you all for listening we're coming to the end of this week and we are very concerned also here in America about the situation and what will happen even if the lockdown is over the restrictions are lifted post traumatic stress traumatic stress what will coming what will come out how will the society react it's full of question marks and and and we have to be as you said as that theater art is on the side of life support and understanding and seeing all the different sides of the stories and help people to create meaning in this difficult time thanks to howl around again for hosting us for all these weeks VJ and thea and Travis and the single teams on young and and Andy thank you all listeners you know for for taking time out of your busy lives and for really also listening to our artists it's also it is as I said it is important to know that people care that compassion is out there we all in the same situation so this is an important contribution and we hope that what they say to is also meaningful to you and makes a difference in your life and helps to grapple and understand the situation we am so hope to see you all are here from you on Monday if I all the best with your work I hope the June work will will be done or will work out with the little audience of 10 people I love that you do in your own studio instead of not doing it at all and and so stay tuned stay safe and


Hello and welcome to the STM32L4 MOOC online training. My name is Andre Barata and I will guide you through the H2C hands-on session. I2C is a multi-master, multi-slave serial communication protocol. Each I2C bus has two signals, the clock signal or SCL and the data signal or STA. The protocol supports only half-to-plex communication, which means communication flows both ways, yet one direction at a time. I2C is only intended for short distance communication on the PCB. The embedded I2C interface handles communication between the microcontroller and the serial I2C bus. The peripheral controls all I2C features, such as specific sequencing, protocol, arbitration and timing. In this session, we will focus on how to properly set up the I2C in STM32QMX and how to use it to communicate with an external digital 1A converter CS43L22. This digital 1A converter is already included on the board, so no external hardware is needed to complete our tasks. The main task on this session is to read the ID and revision number from the external digital 1A converter. As a final remark, the MCU will be the master device and the digital 2A converter will be the slave device on this I2C communication. In this slide, we have the schematic for the digital 2A converter, including our board. In this session, the used signals are the serial data and clock lines connected to the I2C peripheral on PB6 and PB7 respectively. It is important that we know that A0 pin is grounded, since the device address of the DAC is modified depending on its state. Reset pin which enables I2C peripheral in external DAC must be set high before any kind of communication. Reset is directly connected to the MCUPE3 pin. At the physical layer, both serial and clock lines are an open drain design, which means external pull-up resistors are needed. Hopefully, these resistors are already assembled on L4 Discovery board. As you recall from the previous slide, reset pin must be set to high state to enable the communication in the external DAC. The MCU is initially in master transmit mode. Starts by sending a start bit followed by 7-bit address of the slave he wishes to communicate to and finally a single bit representing whether it wishes to write or to read from the slave. For write, LSP must be 0, for read, LSP must be 1. The device address of the DAC is modified depending on the state of A0 pin. As you recall from the previous slide, in our L4 Discovery board, the A0 pin is grounded, so 0. While performing a read operation, master will send the slave's address plus his intentions, in this case, to read the content from the map byte. Through the analysis of the register table of the DAC, if we send the value 0x01, we should expect to receive the ID and the revision of the slave. After all clarifications have been done, let's change to STM32Q by mix to start generating our code. With the STM32Q by mix open, we'll start a new project. We'll type once more our part number, STM32L476VG. We'll start the project and here we'll need to initialize the H2C1. And as you recall, we need to set PA3 as GPIO output, as this is the line which is directly connected to the reset line. So we can decide when or not to start the H2C communication. In the clock configuration, we are going to leave it as standard. And in the configuration, our only concern is to make sure that no pull-up and no pull-down resistor is defined as we already have it externally. After the configuration is done, we just need to save our project and generate our code. Please don't forget to select one second appropriate IDE generate code. Now we just need to press open project so we can start typing our code. We will start by typing the defined constants we want to include in our program. The first one is the memory address of the slave, where should be stored the chip ID and the revision. We will also define the mask address for writing and for reading. Then we will initialize two buffers, one for receiving and the other for transmitting data. At the beginning of the user code to blanket, we will start by enabling the slave device. As you recall, the PA3 is directly connected to the enabled line on the DAC. This pin should be set high to start the communication. We start by defining the data block we want to read. We start our communication by using HAL I2C master transmit. This function can be completed by pressing control space. The I2C handle is defined on the private variable session. The rest of the parameters can be found in the function declaration. The rest of the parameters to be filled are the device address, the pointer to the transmitting buffer, the number of transfers which in this case will be one byte and the timeout which prevents the program to stack. Before receiving the response from the slave, we will use the HAL A2C master receive. It also will have four parameters, the pointer to the handler of the device, the device address which in this case is for the reading operation, the pointer to the buffer for the receiving upcoming data, the numbers of transfers which in this case will be one and 100 milliseconds of timeout once again. After the communication is complete, we just need to disable the slave address by driving the PE3 low. We will insert a nopeline so we can stop our program after the communication. This will ease our debugging process. Now we will proceed to build our program and start debugging our project. We will double-click in our nopeline to insert our breaking point. To monitor our receiving buffer, we need to add it to watch. So we go to window, show view expressions and now we are going to edit our Erics data. Now we will launch the program and it should stop on the breaking point that we set. As we can see, some data was received in the Erics data buffer. If we double-click on it, we will realize that the first five bits are the chip ID and the three last ones are the revision. I think we are finished for this session. Thank you for watching.


Hello and thank you for clicking. This is your auditing course. In this section I will cover auditing from A to Z. This course will help you tremendously if you are taking an auditing course in college or if you are studying for your CPA exam, the auditing section. Go ahead and subscribe. You will have access to all the material with one subscription.


so how many hours total practice time now just I mean if you came two days probably spent 10 hours a days or 20 hours you already spending one hour every day maybe another 20 hours 40 hours of practice what I think you spent yes yes yes maybe 50 50 hours of practice yes because I yes because I I would come to the ground in the morning like about 8 30 I would live until 9 wow in fact the security before I didn't even don't worry you are here you are still here I'll live until like 9 so full advantage of those two days yes and then you also had a five day course very gross five day course yes and then you also did a pre I think you did a pre course online before and then this post house revision yes so I'm just calculate the hours we said 50 solid hours of practice yes and then you now had another 40 hours of solid five day course so 100 hours I think 100 hours in total yes so you really need to do something


Hello and let's talk about the ongoing farmers protests. The farmers protests have been going on since November 26. Right now, hundreds of thousands of farmers are camped in various parts on the outskirts of Delhi. They're determined that they will not go back or end their protests unless their demands have been met by the government. And now this has become more than just a gathering of farmers. This is an all India movement and all India protests right now. Earlier in the day, the Samyukta Kisan Morcha which is a conglomeration of farmers unions or farmers organizations made a very strong statement that they would not withdraw until the government accepted its demands. Now, the government has been kind of wishy-washy on this issue. Prime Minister Narendra Modi of course said that their intentions were good. He talked about rumors which had been spread regarding farmers and farm laws. But the fact is that the farmers on the ground clearly know what the situation is. They want the three laws which were passed in a very undemocratic manner to be withdrawn. So, this is the situation right now. It's likely to escalate in the coming days as well as according to reports and statements by the Samyukta Kisan Morcha. More farmers are on the way to areas in the Delhi-Haryana border. So, and the farmers have also come very prepared. They've brought food. They've brought various amenities and they're willing to actually stick it out and confront the government on this issue. We spoke to news click Sonali who's been on the ground for the past few days. She's talked to farmers, talked to farmers from various parts of Haryana and Punjab who have come here and he tells us what the demands are. Thank you Sonali for joining us. So, you've been on the ground for the past few days talking to farmers, seeing the protests that have been continuing. Of course, it's started on the 26th of November and today is the 30th. The farmers still very much enthusiastic, determined that the government listen to the demands. So, could you first maybe describe what's happening on the ground right now in the sense that where exactly are the farmers gathering right now? Where have they sort of set up camp and what is the progression of farmers who are coming from other parts of this country as well? Yeah. So, at the moment, there are three main points where the farmers have set up their protest sites. One is which is the main one, which is the single border. It's Delhi-Haryana border near Narela and that connects Delhi to Punjab. It goes to Kanal and all. The other border is again Delhi-Haryana border. It's near Bahadur girl. It's called Tikri border. That's where a huge number of farmers have come with their tractor and trolleys and I've been there and to be honest, I was trying to walk and see where it ends and it doesn't end. So, it's huge and the third one, which was the latest, is on the Gajipur border, which is Delhi and Uttar Pradesh border, where a couple of hundred farmers from the western UP have gathered and they're in support of the farmers from Punjab and Haryana and obviously, they're also raising their own demands. So, that's that. The farmers are in Punjab and Haryana especially. They've been protesting for the last two months and since the three farm laws were passed and the main demand is very simple actually. They are saying that just grab the farm bills and we'll be out of your way. I'll tell you a little bit about these three farm bills. What are the main problems with these farm bills are? So, there are basically three things, APMC Mondays, Markets and the Essential Commodity Act and there is another one which promotes the contract farm. So, the first thing is the APMC Markets. These are markets set up by state governments at district levels and the farmers can go there and sell their crops and produce to licensed people, licensed persons or there are commission agents also. So, and these markets are also where the government procure a lot of, I mean this is the only place where actually the government procure crops from the farmers which is a big, it's a big deal for them because if they are not able to sell it to the private parties, the government assures them that we'll sell it and this is also the place where they get MSP which is the minimum support price which the government sets on few crops, not all of them, few, very few in fact. But again, there is corruption in the system. We agree with that. Farmers are not given MSP or they are not making enough profit which is true but that does not mean that you do away with the system because now the government is saying that we have given farmers the freedom to go and sell their produce anywhere in the country. In our country, more than 60% of the farmers, they have small or marginal holdings. They don't have huge crops, they don't have huge amount of crops. So, you can't expect a farmer from let's say from Punjab and go all the way to Kerala and sell his produce.  He will be in debt forever just for the travel. It's a huge country. You can't do this. And also that the government is saying you don't have to go anywhere. The traders can come and buy stuff right from your farms. That's also problematic because again, small and marginal farmers, they don't have huge crops. They don't have huge amount of produce. So, they will not be in a good position to bargain the price. And the government, again, with this the main demand for the farmers is that government gives them in written that it will continue to set a minimum support price. So, at least they have some sort of assurance that no, this is the limit. This much we will get for our crop. But the government, I don't know what is their point. They are saying that we will still continue to set minimum support price but we can't just go by their words and the farmers can't just go by their words. So, that's one thing. The other thing is the essential commodities act. The government has made amendment in that. So, basically that act provides that food grains, stock holders or traders can only stock a certain amount of food grains and food stuff. And the government also can regulate their prices. So, it's not completely left to the market. Now, what the government has done, they are saying that the government will only regulate the prices and the stock amount if there is some sort of emergency like if there is a war or a famine or if there is a food grain crisis. What this will do eventually is that you have given free hand to the big traders that they can stock as much food grains or things like edible oil, oils or potatoes. I mean, we can see like this is every day example, onion. Every year we see onion prices soar in a particular season because there is hoarding and it's not something which is a rumor, it's true. There are reports that there is hoarding of onions. What they do is just they stop the supply and the demand goes up and they can just sell it on much expensive prices. So, that's the point and the government is completely letting go of its responsibility to maintain that the people in the country, they still have food to eat. And the third point which is the contract farming, the government has allowed that the farmers can go in agreement with a sponsor company which will provide them, they can go into a contract and say, you know, you produce this particular crop in this much amount and you can see like not, let's see if a chips company, they won't say, you know, you should grow wheat or whatever, you have to grow potatoes for them. So, what are we going to eat? Chips and potatoes and that's all. This is, you are essentially putting our food security at stake and in a country where we are like India is doing so horrible on global hunger index and still the government is willing to go ahead with this, it's just astonishing. Absolutely. So, Sonali, I wanted to talk to you about basically what the farmers have been saying, you raised these three issues which are very important of course. Now, one of the key arguments being made by the supporters of the government especially is that, you know, this is all kind of a rumor being spread by the opposition and, you know, certain vested interests and this is actually going to liberate the farmers and we have a very powerful cross-section of farmers of various backgrounds. Like you said, a lot of mid-level farmers, a lot of some farmers with some more land, a lot of cultural workers.  I think this is the go-to answer of this government or anything like for anything. So, if the farmers and the thing is the farmers are saying if it is for our benefit then why are we on streets and they are not ill-informed farmers or if it's not like they don't know about agriculture, they know about agriculture more than you and me and the people who are sitting in AC offices and making policies definitely because this is their livelihood. So, if the government is so sure that it's what it's doing is right and then talk to them, convince them, nobody is asking you, nobody is stopping the government from talking to the farmers if and because and the thing is because they don't have an answer. They don't have an answer.  They are just going to promote corporatization of agriculture and the farmers are going to lose their lands or so because eventually that's what's going to happen. If the government is so sure that this won't happen then give us, then give the farmers, not us, but give the farmers a concrete plan, okay, you know, this will not happen or even for the MSP, why the government is not giving them in written that MSP will be there forever. Absolutely, right and in this context one interesting thing that has come out of course is the fact that you mentioned at the beginning also that the farmers have been protesting for months and it is also clear that they have actually been preparing for this protest for months as well because there's been reports which Newsclick has extensively covered of the fact that they have actually brought say food, materials and they came prepared knowing that this is going to be a long struggle. So could you maybe talk a bit about the mood on the ground with that as well? It's actually very positive, you know, you get a very positive feeling especially in this time when there is a pandemic going on. Farmers are so well prepared. They are saying like we can stay on the streets for six months and I talked to a few of them, they said like you know, we can do this in batches, we are actually going to do this in batches, like we are here and some more people will come and people will go back because they also know you can't sustain if everybody is on the street all the time, you cannot sustain a long protest and they know that this will be a long protest going by the history of this government because it is not willing to listen to anyone. I went to, I think on Saturday and yesterday also, but you know, I reached there at 10 in the morning and people from different villages because they are obviously coming from different villages, so they know these people, they are living in like, even though they're all there but they're still like in their own groups and they were all making food in the morning. It was like, you know, the government can do whatever it wants to do but we are here till these three farm bills are scrapped. Absolutely and it does look like Amit Shah has said that there's a discussion planned on the third, although again, like you said, for instance, the government is refusing to give any kind of commitments. One of the key demands the government has been continuing to make is that farmers come to an assigned spot and sit there and protest and that has been a very interesting development because farmers have said that they will not do that, so could you tell us why? The assigned spot which the government has mentioned is the Burrari ground rates in one corner of Delhi, nobody will go there. I think the government doesn't understand the whole purpose of protest in general because you are protesting so the people and the government hear what you are trying to say and you also have to gain solidarity within the people also which this protest is actually gaining and that's why I think the government is very scared also and I mean it should be actually. So the Burrari ground where the government is sending them, it's a huge ground but it's in one corner, it's so far away from the government where the actual government is and these people, the farmers actually came to go to parliament because that's where the farm laws were passed and it passed in a very undemocratic, let's if we can say manner but still and so and there's another thing that some of the farmers are alleging, I've talked to some leaders and they are alleging that anyone who is going into that ground the police is taking their whole information where they're coming from, everything so they're saying that they've created a jail, anyone who goes inside they are not allowed outside so once you go in that ground you will be there for however long the government decides that you should be there so that's another issue that they don't want to be kept in let's, they're calling it a semi-jail so they are saying like we are not going to go there if the government is, if it really wants to talk to us there will be no conditions applied of if you want to talk to us, you come and talk to us, we are willing to talk. Thank you so much Sonali for talking to us. That's all we have time for today, we'll be back tomorrow with more news from the country and the world, until then keep watching NewsClick.


So it's a very common question if Aikido works in the street. And there are many different answers, many different layers to that, but this time to share my perspective, I'm going to simply share a few stories. So myself, I started Aikido in a very dangerous city where people would get attacked all the time, especially young people such as then, back then myself. And my friends would get attacked, I would get attacked at least once per week. So self-defense was a common question. And although I started Aikido not for that reason, when I did it, I did it very passionately. I trained a lot, I spent many hours in the dojo, I really tried to perfect the techniques. But now looking back at those days, I realized that I trained for maybe four years back there with my first instructor. But now I realized that my first instructor, he was very picky, he was very precise. And for him, as far as I see it right now, when I remember, for him there was a right technique and a wrong technique. And the right technique was done only in one way. So you're supposed to grab this way and not that way. You're supposed to be here, not here. So it was very, very specific and in a sense quite limited. But I was still trusting in my instructor very foolheartedly, and I trained it and trained it and tried and polished my technique as much as I can. But then the problem was that when I would face conflict, when somebody would want to attack me, I didn't know what to do. So a precise story, I was walking alongside a certain street and it was dark and five guys came at me and they told me they were going to mug me. Obviously I didn't want that. And when one of them grabbed me, my first reflex was not to do a technique because the grab, I wasn't taught what to do from that specific grab. So I punched him, he went down and the other four guys started panicking. They didn't know what to do, I guess they didn't expect that. And I stood in a stance and I was waiting for them to attack me, because again, you know, I could have techniques, I was used that somebody attacks me, I didn't know how to initiate. And at the same time I was looking at their hands to see if they have a knife, but this guy was waiting for them to attack me. At that time, eventually when they got their sense, one of them pulled out a pepper spray and sprayed into my eyes. So I had to run and thankfully I ran away and it was all good. But the fact is I realized I didn't know what to do in that specific moment. And looking at the example of my instructor that he presented, then I came to the conclusion, okay, I don't know enough techniques so I need more techniques. And so I thought, okay, I need to know a technique from here, from here, but then that made me very, in a sense, a bit paranoid and very tense because when I would walk around the streets, every time I would see a potential threat, a potential group of guys who might attack me, I would start imagining, okay, if he's going to do that, I'm going to do that. If he's going to do that, I'm going to do that. But it didn't work. And the next time, for example, I had this idea, when somebody is going to attack me, I'm going to punch them in the eye and I was hoping that I'm going to knock them out. But when that attack again happened, when somebody told me they're going to mug me, I punched, he didn't get knocked down, eventually he ran away. So I realized that, I didn't realize it completely back then, but I saw that it's not getting me anywhere. And the more I went into this path, the more paranoid, the more stressed, the more afraid I was of conflict. Eventually, though, I met my current instructor, since he's Patrick Cassidy. And when I trained with him, he's doing a lot of free movement, a lot of G-Waza, Randoi. He's not limiting himself to techniques. There are techniques too, but there's so much more there. Learning that liberated a lot in my system. Realizing that you can do anything and the response itself is what matters. And techniques come up in that moment, but you don't have to do a specific technique. You don't have to know what to do. And when I learned that, I was learning in Switzerland, when I came to Lithuania to visit my parents from some time to time, when I came back to my hometown, I wasn't afraid anymore. Because as I walked the streets, I knew that if somebody attacks me, I know that I will know how to respond. I don't need to know what I'm going to do. And then it was very, I felt free, I felt very good. I felt at ease and that was still coming from Aikido. Yet what's interesting enough that there's another layer to that and some Aikidokas do speak about that. Then there's the level of perspective or spirituality or philosophy and that makes sense too. So in that first period in those first four years that I trained, I read a lot about Aikido. And one phrase that stuck to me, it said, Oh, Sensei was walking with one of his Uchidaishis and he said, train with me, stay with me and train with me for three months and you will have no enemies under the heaven. Back then, obviously with my immature mind and the perspective that I got in my first tojo, I thought, OK, that means training for three months with him and you will become so amazing, so good that no one is going to be equal to you and you're going to have no enemies under the heaven. Later when I met Sensei Patrikaste, I realized that's not what it means. Actually what I do sincerely feel what Sensei meant is that he will help to change the perspective in such a way that you will have no enemies and when I understood what that means, it changed a lot in me too. So when I was walking in the streets and when I would see a person who would seem to be impossible person who would have a conflict with me, I would just remember myself, you know what? I don't have any enemies under the heaven. I don't see him as a threat. I don't see him as an enemy and that would just not bring me into a conflict. Even if he would try to conflict me, I would have no conflicting energy and he just wouldn't have anything to pick up on me. And that happened again and again and when I analyzed those two stories, I realized that the first four years when I was tense, every time I would see a potential threat, the person who might attack me, my body language, you know, I would tense up and I would go into this fighting mode and they would pick it up and then they would approach me and then we would start fighting. But when I realized, you know, I have no enemies under the heaven that when Aikido gave me the perspective understanding that I don't need to fight anyone, I don't need to prove anything and even more, I could talk more depth into that but I hope you understand what I mean with this direction. Then, you know, the body language would be relaxed, there would be no sense of danger to others and conflict just wouldn't pick up. So that perspective, that working of perspective that Aikido emphasizes actually that helped me out a lot much more than any technique did in the past. Of course, knowing that I could do, I would know what to do and that's not even the best way to say it, knowing that my body will know how to respond when I'm attacked and training in that way does liberate a lot but the perspective liberated so much more and to give you a precise example I was after the second period so it's called the third period where when I opened my dojo in Inshale in the city of Lithuania so I was much more developed, I had much more skills and I was walking next to my home I was walking back and it was dark and out of the bar, two guys came out they were drunk, they were wobbling around and they seemed to be looking for trouble but I thought I didn't think they're going to attack me but they did see me and they came to me and they started talking to me and I realized they're sizing me up to attack me or not and I was talking, talking to them and eventually they decided you know what, they're going to kick my ass and they announced it one of the guys said you know what, now we're going to kick your ass I was a bit surprised I didn't expect they're going to decide to size up, they're going to size me up as attackable but then what I did I took a step back I went into command, I opened up I've been ready to go for a response but then at that moment asked you're serious? are you sure? and that wasn't you know you're serious, I'm going to kick your ass but I sincerely asked are you serious? did you really want this? that was the intention behind the words and I waited for an answer authentically and they were standing thinking about it they started thinking about it although they were drunk and after a few moments one of the guys just took out his hand gave me to shake it I shook it and we went away to different sides and that was it and when I analyzed that obviously you know you never know what might happen if what but when I look at it if I would be learning martial arts in an aggressive way if I would be preparing for a specific action at a specific moment as soon as they would have said they're going to kick my ass I would have punched them in the face or did a technique or whatever but the fact that I was learning and developing the perspective of non-conflict of no enemies I had that ability I had that space to stand and say and ask are you sure? do you want that? Aikido gave me that solution Aikido gave me that opportunity and when I used it the conflict never happened and there's so much more we could talk about here but I hope you start to understand and see what I mean kind of to summarize it up you can see that there's many sides to Aikido and I do agree that not all Aikido is street-proof but that's not the main point obviously if you limit yourself to just techniques you might come to a conclusion that Aikido doesn't work but if you open up yourself more if you start to see that Aikido so much more than just techniques that it can be a way of self-expression a way of developing a certain attitude and able to defend yourself and others through a healthy and right perspective it can it works in that sense much more than many other ways could work so as I said there's so many levels many layers we could talk about and if you're interested to talk about more about this topic to analyze it let me know in the comments I'll be happy to continue and to discuss with you we can either discuss in the comments or we can ask a question I'll be happy to share it through a video in a communal way but I hope those stories that I shared they might open up something to you of how Aikido works you imagine it to be not in the Bruce Lee Steven C. Galloway so I hope you found something that you were looking for in this video my name is Rokas and it's my second channel if you want to check the first channel tutorials, Aikido tutorials and other interesting videos click here as always interested to hear your comments and if you have any questions let me know and looking forward to see you in another video so one thing we often times like to forget is a very simple fact that we are all connected and as you know I'm an Aikido instructor and as most of you know and sometimes when people look into Aikido and people think about Aikido they have a hard time to understand the whole essence of I could say the life protecting sword


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Hey everybody, it's Brian. Today we're going to be doing the 21st Java video. We're going to be departing a little bit from the norm. I want to take a step back and show you how to manually compile and run Java classes. So here we have just a normal Java class. We've seen this a million times. Just simply spits out, hello from Java. When we run this, you see, sure enough, hello from Java. Well, how does all this work? I mean, it's fine in Danny to use an ID, but what if you really got to get into the nitty-gritty and run it manually? Well, excuse me, in Eclipse, you can right-click your project and go to Properties, or you can just simply select it and press Alt-Enter. And that will show you where your project is located, the location. See Users, Brian Caron's Workspace Test. Obviously, I'm on a Windows 7 box. So, how are we going to run this? Well, first, let's flip and see what's in here. You see, I'm NC, Users, Brian Caron's Workspace, and there's two files, dot metadata and test. Well, the dot in front of this folder denotes that if it were on a Linux Unix system, it would be a hidden folder.  But your stuff is actually in your project folder. And in this case, our project was named Test, so let's actually flip back and you can see the name is Test. In here, we have a dot settings. Once again, that's Eclipse settings. We have a bin, a source, project and class path. These are both Eclipse files. Eclipse stores things in the SRC, which is short for Source. So there's your Java file. This is the actual file right here that has our source code in it. Now, we can't just run the Java file. We have to compile it. So when you run Eclipse, it compiles to a class file. Remember from our previous example, if you open that up into Notepad, you'll see that it is just quite simply a bunch of guck. Yes, guck is the technical name for it. What Java does is compiles it into an intermediate language. .NET does something similar. They actually call it the intermediate language or the IL. This is what Java actually runs. The Java virtual machine loads this and runs it, but that's way beyond the scope of what we're going to talk about. All you need to know is that you need to compile your Java files into classes. And to do that, you open a command prompt. If you don't know how to do this, you go to start run and type cmd and that opens a command prompt. Now, the first thing we need to do is actually navigate to our directory. We are in C, Brian Caron's workspace, test source. So we're going to go CD and you can actually have to show you a little trick, copy and then paste. And that will change to the directory. And when you type a dir for dir directory, it'll show you what's in there. And you see that we have Java file there and it's 128 bytes. Now, one thing you should know is you will need to modify your path. The path is an environmental variable. If you go to a command line and type path, hit enter. If you don't see the path to your Java installation, didn't work the way I hope, C program files, x86, Java, JDK, six, blah, blah, blah. If you don't see that, none of this is going to work. In other words, if you type Java and you don't see a list of options, you get an error of, you know, file not found or something, you need to modify your path. To do that, you go to start. Let me see, let me follow along on my computer. Start, right click on my computer, you can go to your desktop, my computer, go to properties. And let's see here, advanced settings, environmental variables, and then you scroll down here and there's path and you edit that and simply paste it at the end and put a semicolon at the end. That denotes the delimiter and close all that. Let's just clear the screen here. Alright, so we've got everything running. When we type Java, we get a list of options. You can tell if Java is installed correctly if you type Java-version and it tells you the version. Notice that we are using the Sun version. There are a lot of other Java versions out there, but we are using the official Sun version. Alright, now there are three programs you need to know. First one is Java. That is what actually runs classes. And Java C, which is the compiler. That's what we're going to use first. Let's actually just clear the screen so we can see what's going on here. We'll type Java C and if you hit enter, you're going to get a list of options. If you're not familiar with the command prompt, I'm going to walk you through this real quick. It says usage, Java C, options, source file. Here are the list of options. So you're going to give it options, space, and then the source file. So we're going to type Java C and then you're going to simply type in the name and hit enter. Now notice how we didn't give it any options. Well, the reason for that is we are currently in the directory we need to be. Otherwise, you would have to set the class path, you know, specify where to find user files and annotations, which, you know, for the current directory, I believe you can just type a dot. I'm actually going to go Cp short for class path dot. It does the same thing. Alright, let's go back in here. Now you see we've created this class file in the same directory. That's the file we'll actually run. So if you type Java and you type main, notice how you're not typing main dot class. You're just typing main. Java assumes you're giving it a class file. Run it. It says hello from Java. There's our program working. Now Java does the same thing. You just type Java enter and you get all these options. Now what are these options? We're not going to get them all, but what you really need to know is class path. Class path tells Java where to find things. For example, you notice how we've got our main class in workspace test. Let's just delete that. When we go to run this again, and you can just press the up arrow to repeat commands, you're going to run that again. Notice how it says exemption may not found blah, blah, blah. That's a standard area you'll see when you're trying to run Java. Basically what that says is it couldn't find the class. Notice the class not found exemption. I know it'd be a lot easier if they just said, hey, we couldn't find what you're looking for. But that's what's called the call stack. So what we're going to do here is we're going to actually use the class path. And we're going to use the class that Eclipse created. We're just going to copy that. Now you notice how those are two different paths. We're in C users, Brian Cairn's workspace test source. This is C users, Brian Cairn's workspace test bin. So when we go here and we type main, it explodes. It doesn't like it. So what we need to do is give it a class path. Type dash cp main. We need to actually put the path in here. So we'll just right click, paste. Now it says Java class path. And then we've got the path and hit main. Do you think this is going to work? Let's find out. I don't think it's going to. I'll explain why. When you hit enter, it doesn't work. Same thing, class not found. Why not? We gave it the path. Well, press your up arrow. The reason is simple. You see this right here where it says, Brian space Cairn's DOS commands don't like spaces. It treats it as two separate arguments. So you need to enclose that in quotes. Once you do that, it runs just fine. Well, that's it for this tutorial. I'm running out of time. I hope you found this educational and entertaining. Thank you for watching.


Another example of the number of attempts is in an encryption system a brute force attack on a key chosen by a user Let's say a user has chosen a random key a 128 bit key and An attacker is trying to guess that key So what the attacker has to do? They need to guess that key So how many possible keys do they need to guess from with 128 bits? There are two to the power of 128 possible keys So in the best case the attacker Chooses a key and they're very very lucky and they get the key that the user chose That would be the best case and it takes one attempt The worst case is that they try all keys and it's only into the last key that to the power of 128 key That they get the one that the user chose The average case the average number of attempts is The number of possible keys divided by two two to the power of 128 divided by two which is Simply two to the power of 127 so on average that attacker if the user chose a random key and The attacker knows nothing else about how they chose that key. It would take two to the power of 127 attempts to get the key if we modify the case and the user instead chose a 129 bit key That is they increase the key length by just one bit so in this case the average number of attempts becomes or that that the key space is two to the power of 129 That's the total number of possible keys and the average number of attempts will be two to the power of 129 divided by two or two to the power of 128 This illustrates by increasing the key length by just one bit Then we double the amount of attempts that the attacker must take to find the key