Welcome to this lecture series on Aspects of Western Philosophy, module 35. In continuation with the previous lecture, we will see the philosophy of Martin Heidegger, the great German philosopher. See, one important feature of 20th century European thought, European philosophy, whether it is continental or analytical, is the importance they have given for language. They have given to language such an important place. Of course, Heidegger is also sort of taking a linguistic turn, which will not be discussing in this lecture, but it is so important to note that, you know the way in which these thinkers, both in the analytical and in the continental traditions, they conceive philosophy and do philosophy in a characteristically different manner than their predecessors. While the analytic philosophers, where most of them subscribe to this whole notion of philosophy is a language analysis. The continental philosophers took diverse perspectives and Heidegger is such an important figure in 20th century philosophy, continental philosophy. So much so that, you know his influence is so important. There is many other traditions of philosophy. For example, existentialism, whether it is Sartre in form of existentialism or even other kinds of existential thinkers, they were all tremendously influenced by Heidegger's philosophy of design, which we are going to address today. And that is why, it is justifiably, Richard Rutte calls the current day, the contemporary philosophy has been influenced by three very important philosophers. One is Wittgenstein, another one is Heidegger, the third one is William James. Heidegger is in that sense a very important thinker and we in this particular lecture would be dealing basically with two issues. The first one is authentic and inauthentic existence of design. The second one is the concept of truth, the notion of truth as disclosure or unconcealment. But before we actually do start discussing these themes, these topics, we have to understand or elaborate a little bit the concept of design, which we have introduced in the previous lecture. Because it is this concept, the concept of design, which is at the center of Heidegger's philosophical thinking and though it is true that Heidegger later on changes his views. He has got two philosophies, there is a later Heidegger and an early Heidegger. But there are certain issues, certain problems which remain the same. For instance the problem of being, that was at the center and also the importance he had given to design. So and as I have already mentioned, Heidegger has influenced many thinkers not only the existential philosophers, the existentialists, but Heidegger himself preferred to disassociate himself from existentialism and disliked the title existential philosopher. We will see the concept of design in connection with the central issue in this philosophy the problem of being. As I mentioned in the previous lecture, the problem of being is, it is a problem for the design, it becomes a problem only for the design. So in that sense the design is a very important concept, the design is the being of man or being in the world. So the meaning of being needs to be understood by understanding the destination of being or its final end which is to be found in design. This is something which we have discussed in the previous lecture, that there is something called the destination of being and the final end of being, all these the destination and the final end of being need to be located in the design, in the design's life or the ontological structure of the design. So in that sense the analytic existential analytic of design becomes a very important concern for Heidegger and here design refers both to human being and to the type of being that humans have. So see the concept of design itself is being a very important concept and a very complex notion, it is very difficult to understand what does it mean by this concept. He has expressions like my design or the design of man or there is a possibility that design is lost and gained. So all these complex expressions make the notion of design extremely complex. The problems involved in translation, translation from German to English that also creates some confusions between intent and meaning. So these all these factors add to the difficulties of understanding Heidegger in the proper way. And here we can see that the root meaning of the noun namely being, being there or being here. The word design actually das in, actually means being there or being here which means being in the world. For Heidegger the being of man is not an abstract entity which can be located in a transcendental domain like the transcendental subjectivity of Husserl. It is a being which needs to be essentially located in the world among other beings and other entities. So in that sense Heidegger's concept of being of man is extremely important very significant. Let us see what he means by phenomenology, we have already seen this I am just trying to clarify it in the context of the discussion we are going to have today in this lecture. It is to make transparent the being of being to the being for whom being is an issue. Very interesting expression it says that phenomenology makes transparent the being of being to the being for whom being is an issue. So it is for design and only for design being the question of being is an issue explore where experiences occur and for whom experiences occur. It is for the being of man experiences occur and it is in the being of man experiences occur. So you have to actually begin your analysis with an examination of this being the being of man which is the being in the world which is the being here and being there. The existential analytic of design and why design what is design design is different from other entities that is one reason which we have already examined in the previous lecture. So I am not going to elaborate it definitely the being of man is different from the being of other entities and for this Heidegger says it is only for the being of man the question of being can be raised. Design has an understanding of being and can raise the question of being and it is in its being this being itself is an issue for it and design understands itself in its being. So these are the reasons why why design why such a kind of analytic ontology of design is being preferred. And now let us see the relationship between design and the world because we have already seen that design is primarily being in the world and its finds itself in the world it is in the world not in a way other entities are in it like any other entities for example this computer or this camera or the chair are also in the world. But the being of man is in the world in a very characteristically different manner it understands the world as a range of possibilities. It is a world it is a domain it is a horizon of all its actions I mean I understand this world when I leave this world what happens is that I understand this world by relating the entities in this world to me to my background everything that comes around I mean that have finds around me has a use for me. Say for example this computer is for me to use it to work the chair is for me to sit the water bottle is for me to carry water the camera is for me to take pictures the pen is for me to write. So all these entities have meanings for me independent of what they these entities are I mean what these entities actually are is not a major concern what it what is a concern is they all have some use I mean they are all understood by me as something. So I relate them with me so this is something which distinguishes them being of man from the being of other entities. So does not understand the world as a range of possibilities I can I can do so many things in this world I can I actually project myself into this world this is Heidegger's language projection of possibilities by doing certain things does not always has understood itself in terms of its possibilities and it is constantly more than it factually is this this whole idea of what I am factually is what design is factually is it is more than that because it is always project certain possibilities the future when I live in this world I live in this world in terms of my projects my ambitions the things which I plan to do and objects around me the way in which I am going to use them employ them for my purposes. So in that sense I am definitely more than what I am factually is there is in needs of world populated with entities for it to engage with. So there is a different way in which design the being of man distinguishes and understands itself from the being of other entities that these entities are there for the being of man again it is a being in the world cannot escape from the world. So there is something called Heidegger calls it a kind of facticity or kind of thornness I always find myself in this world and I cannot escape from this world if I want to live I have to live in this world and facticity and thornness are inevitable there is no way you can escape your existence can escape the being of man can escape being situated thrown into a world of objects entities and possibilities. So on the one hand you can say that there is freedom because I will explain this concept slightly later because there is freedom because you know when you live in this world you are free to do certain things you are unlike other objects other objects are being used by others they have no freedom but in the case of man the being of man has got freedom but at the same time there is something called facticity I find myself here I am limited to that constrained by the fact that there is I am here. So in that sense my freedom is constrained but on the other hand I have freedom to do certain things so there is a kind of apparent conflict between these two aspects of the being of man. So here is a passage from being and time I quote the essence of design lies in its existence according to these those characteristics which can be exhibited in this entity are not properties present at hand of some entity which looks so and so and is itself present at hand they are in each case possible ways for it to be and no more than that. So when we designate this entity with the term design we are expressing not its what as if it were a table house or tree but its being unquote. So I just read the first sentence once again the essence of the design lies in its existence. Here it distinguishes itself from other entities other entities I mean this these concepts will be elaborated in the next lecture where we will be discussing existentialism. So I am not going to the details now but there is a definite a specific way in which the designs being is different from the being of other entities. So when we designate this entity with the term design or being in the world we are expressing not its what like a table or a chair or a house but its being. So it is something which has got a being a kind of free existence we can so to say. And now we have already mentioned that design is a being in the world it finds itself in the world the throwless aspect of design the facticity of design. Now there is one more aspect which is also very important which is actually not very different from being in the world that is being with others because design finds itself always in the world which it shares with other people. So the design is essentially being with others it is an ontological component of design. See the being always with others is actually it constitutes my the ontological character of design being with others like it is a social being in that sense we can call it design and the world are internally related. So it is being in the world and other people have a role in deciding the structure of the world because the world my world is not something which I myself have created. It is not the world which is which is per se given a priori no it is a world which I too contribute in creating along with other people. So it is there is also a very important socio-political cultural world where other people being of other people also participate in creating where I am also a participant. So in that sense other people have a role in deciding the structure of the world. The world inhibits it along with other beings like itself and no one is himself in every dayness this is what Heidegger says in being and time no one is himself in every dayness every dayness means you know in our every day day to day existence no one is himself because the world in which one person say for instance I find myself I am not alone in this world. And this world is not my creation or God's creation it is a creation of people like me along with others I too created I too contribute to its creation. So in that sense no one is alone what does in works upon is provided by others. So others play again a very crucial role in my life. So this is again an aspect of my facticity as I already mentioned this world is created by others. So there are several conditions several institutions in this world several possibilities in this world. Say for instance when I work in IIT Madras as a faculty member it is not 100 percent my choice of course I can say that it is my choice in one sense that I can if I want I can leave this place or it is my conscious choice that I have taken up this job. But for me to take up this job such a profession should exist such an institution should exist education institution the profession of a faculty member a professor or associate professor whatever it is that should exist. So that is not created by me that is already there. So in that sense what the being of man works upon is provided by others. So others play a very crucial role in deciding my own ontological character. What this produces is distinct for others again see what I do here when I engage a class when I teach this is a profession which I can so to say for the sake of argument let us say that this is a profession which I have consciously undertaken. So in that sense I can say that by being a faculty member of IIT Madras I am creating my own identity. So which I create for the sake of argument let us accept it so. But even that even when I do certain things here teaching engaging classes even this class itself it is this time for others it is not I am not doing it completely for myself if I am a painter or a musician I paint and sing also for others if others are not there my activities would become meaningless. So that is very important so again if I am a painter the institution of painting is produced by others and my painting are for others to appreciate this is what I just explained and again the where of and the towards which of equipment relate the work world of other people. So there is a where of and towards which there is a destiny it is for others it is destined for others. Again the readiness to hand of objects for me is not merely their readiness to hand for my design alone. So if I am a painter I will be using lot of things canvas colors and other things and create lot of images and other things. So I can say that these are readiness to hand objects of objects for me but it is not just for me alone it is for everyone it is for others because my work is also for others. And again design is being with being of design is being with design's orientation towards ready to hand objects is characterized by concern for others I mean this is what I just mentioned there is a concern for others a solitude we can say when I teach when I engage a class in IIT Madras I am basically doing it for my students for others for the society I am being part of a national building activity. So it is all for others it is a kind of concern for others concern not in the emotional sense of the term but in a very existential and ontological sense of the term concern. So that is why Heidegger calls it it is of solitude and then attitudes like if I am indifferent to something or hostility when I show hostility etc even such attitudes even indifference shows this solitude according to Heidegger. So this is again from being and time I quote the who is not this one not that one not oneself not some people and not the some of them all the who is the neuter the they. So there is a concept of the they Heidegger referred to the world the social world it is there is a they which is actually not one particular I mean you cannot specify who is this they it is a kind of neuter they again another quote I quote the they which supplies the answer to the question of the who of everyday design is the nobody to whom every design has already surrendered itself in being among one another being and time and quote the their being of design can be characterized can be picturized in this way. So you have the being in the world here and being in the world is the design where the world actually is the world as our world it is to be conceived as our world it is not the individual designs world something which is a subjective domain no it is always necessarily a world of others as well. So it is our world and the world is again can be divided into the world of entities which are there for ready to hand objects like cameras computers and other things around me and there is also social world where other people are there where I also belong to that society. So there is a kind of interconnectedness here as I am already mentioned the world is our world and the social world is my world and the world of other people and the world of entities are there available for me as ready to hand objects but when I use them I use it for others in my living with others in my being with others I employ them. So there is a kind of inter subjectivity though I as a subject use them the equipment the tools all these things I use but I am using it not for me there is a kind of solicitude a concern for others. So there is inter subjectivity and Heidegger often says that the design is always mine. So that is again another very complex expression which can mean many things he says design is always mine. So there is no way that I will be losing my design I mean if you take it literally but again as I mentioned earlier Heidegger says that I gain my design. Probably what he means is that you know there is something called authentic and inauthentic design I am coming to that we will discuss it in this lecture itself. So before we actually go on discussing that let us see this mindless and being with there is a kind of apparent contradiction between these two ideas you know design is mine when I say design is mine it is so individualistic I am individualizing my design it is me I mean it is so authentically me it is pure me I can say and under trait it I can even say but again on the other hand it is being with it is being with being with others being in the world social world and I too have to share a world of other people and all the activities I do I am participating in certain practices which are created by other people and they are intended for other people. So in that sense there is an apparent contradiction between this mindless and being with both are features of my ontological character social world a world of both others and I again there is also this apparent contradiction comes in subjectivity and inter subjectivity like there is a subjectivity but essentially we would understand that it is an inter subjectivity design is not just design in isolation but design is always a being in the world it is not a being in isolation it is a being in the world it is not abstract pure being of Husserl or Plato or any of those philosophers but it is a being which is concrete which exist in this world. So inter subjectivity is a specification of the subject according to Heidegger so that is why it is being there or being in the world not a being in isolation a pure being. The relationship between subjectivity and inter subjectivity determines the designs everyday mode of existence and there is in this context we can talk about authenticity loss of authentic individuality is a possibility in everyday in average everyday existence. It is an active possibility that in our everyday kind of a life I might lose my authentic individuality so now Heidegger is going to talk about that what is it the designs existence in this world design can basically existing two different ways one is authentic existence another one is inauthentic existence in authentic existence you take responsibility of what you do you are what you are in inauthentic existence again it is design which is inauthentic it is not that inauthentic existence you lose it it is design which is inauthentic where you are not your usual self authentic and inauthentic existences to be authentic is to be something of its own so something of its own again is a metaphor something of its own as if there are occasions in which I am not my own I mean I do not own myself of course there are occasions where I do not my own myself see for example I will give you a very very plain example very common sensical example from day to day life when I imitate a film star because I admire him a lot so I try to imitate him like his hairstyle his everything you know in my even in my walk in my voice I am try to emulate him so in all aspects I try to imitate him there what is happening that I am losing my authentic individuality I am submitting it I am surrendering it to something else to the day because this actor actually whom I admire belongs to the world of the day so I am not being my own self I am rather surrendering myself to the day and imitating someone else so this is just to give a very common sensical example from day to day life then we try to understand the meaning of the word authenticity the Greek word autos means done by one's own hand where one is self sufficient again being authentic and inauthentic art designs possibilities as I already mentioned you know even to become inauthentic is a choice say for instance as I the example which I have cited just now when I imitate an actor I start imagining that I am that person so here what happens is that that is also my possibility surrendering my authenticity is also my possibility when it comes to authentic existence at this is again a very interesting concept in in Heidegger because he ontologizes the idea of authenticity the to be authentic is to be in a certain way to act and live in a certain way to be authentic and to be inauthentic is also to act and live in a certain another way which is not probably the original way in which I should be living and I should be acting I should be doing things but still it is a way which I have chosen so it is another it is my own choice it is a it is an I would rather say that there I have surrendered my authenticity so to be design is to ask certain question concerning the problem of being and also of one's own existence so this is again a very active possibility of design alone to act the question concerning the problem of being to be concerned about this problem they become an issue only for an authentic being not to exist as an ontic entity among other entities not to be static being constantly ask search and become so this is another thing you know the feature one of the essential features of authentic design is to seek to ask to search to become I mean be in that process of exploring rather than just confirming to what is being what is happening around you so rather than being a blind conformist of what is going around you try to be more explorative try to explore possibilities more possibilities which are your own and act in this world accordingly so the in German the word authentic is it is agentish in German means real or proper something which is real or proper and in authentic means not literal something which is figurative like it is not literally what it means but it is figurative design is sometimes authentic and sometimes not design's authenticity is hidden but nonthless given beforehand so this is another very important aspect it is given beforehand by design is actually given beforehand it is since it is given beforehand I can talk about authentic and inauthentic ways of existence if it is not given beforehand I cannot talk about it but it is not given beforehand in the sense of an essence of me something like my art man or whatever it is not in that sense you know it is given to me but that range of possibilities that possibilities of understanding and relating to the world in a certain way certain unique manner they are all already there it is not a substance with an essential nature and with properties or accident something like as I already mentioned something like an art man or a sword which is which has got certain properties and accidents which is a substance not in the sense that there is an essence which I have design's potentiality or possibility is prior to its actuality so actually what am I actually what am I is based on several conditions several factors these conditions and factors would probably make me what I am that is true but again I mean I might come across or I might find myself in several circumstances see today I am working in IIT Madras or today I am working in somewhere else say tomorrow again I am working in another university say for example MIT so there the situation is different I find myself in an entirely different world there here I am finding myself in a very unique world but my potentialities or possibility is prior to this actuality whether I am working here in IIT or in MIT my potentialities and possibility or possibility is prior to that so accordingly I would be negotiating myself moving here in this place or wherever place I am working the design is not a definite actual thing but the possibility so this is where he says you know it is if it is something called an essence a substance the essence of a substance then it is then it is an actuality then it is definite it is something which is so definite but here it is a possibility so design needs to be understood in terms of its possibilities the possibility of being which I have the possibility of being my own being that is what is what determines my design so the more I deviate from that possibilities I am losing my design or I am inauthentically existing design's way of being involves the capacity to choose among several possible ways of being the ways of being involves the capacity to choose among several possible ways of being there are several possible ways of being I can I can even when I work in IIT Madras I can I can actually carry out this profession of being a faculty member in IIT Madras in several ways I can be a very lazy professor I can be a very active and enthusiastic person there are several possibilities I have of course some of them are dangerous possibilities if I bunk classes then that is a problem okay and if I if I am very cruel to my students that is again a problem which I am not supposed to if I am unfair to my students that is but they are they are all my possibilities they are all my possibilities and they all so that is what all the possibilities would decide what I have for instance my inauthenticity is also a possibility the ways I can exist inauthentically is also a possibility so design and authentic existence design needs to be addressed with a personal pronoun I or U not it something an object where I where I refer to an object a hammer or a computer but it is an I or a U it is mine I have already mentioned this being of other entities which are merely present at hand that see this water bottle the being of this water bottle is something which is merely present at hand something which I can use does not have an entity does not have a being of its own design can take charge of its own being so this is the possibility of design I can take charge of my own being that is authentic existence being of man is whatever it decides or has decided to be design is its possibility to be authentic in this sense is to have a room for once on have a mind of once on being once on master to be true to once on self to be once on person to do once on thing design is not equated with human being in that sense there is a design of man so that is why it is possibilities it is actually we are referring to possibilities when we refer to design the in design refers to the disclose atness of being so now in this context what is in authenticity then average every day mode of existence of design so just to live a life with others which others leave it is not my own life I am living I am living a life what others leave mind is of design takes the form of they so there is no mind but only a day I become one of them self is a they self design loses the in the day so I get lost I mean my I lose my design in the in the in the day and it understands the world in the way they make it available to it self understanding two will be inauthentic except prevailing opinion confirm to what they does and things the they the they does and things so I am not exercising my own authentic potentialities of existence but just follow what others do once on design gets completely dissolved into a kind of being of the others so see there is always a way in which I would ideally do things in this world I would ideally live in this world so instead of pursuing those my authentic genuine ways of doing and living in this world I just copy what others do I just confirm to the accepted practices that is the authentic inauthentic way of of being and in this context regaining your your design your authentic being becomes important not by isolating oneself from others it is not that you know see for instance if I am a classical musician a kinetic musician I will have to definitely learn certain basic things which all kinetic musicians should have to learn the basic notations and other details I can say that I mean I want to be so authentic and original and and and and in my own ragas and other things I mean there are certain specified number of ragas and specified ways of maneuvering when you are a kinetic classical musician so I cannot say that these things are not acceptable for me I want originality and authenticity originality and authenticity is not to be expressed in that fashion you have to accept those practices which are customs which are there in the world they are not created by me they are there they are created by the they of course just by participating in it I would not be losing my authenticity so it is not by isolating oneself from others being with is not a limitation it is a typical human way of being I mean to be a musician I have to be I have to use all these accepted practices that is not something which is unusual that is my way of being that is man's way of being authenticity consistent attaining a difference in relationship so it is not doing things entirely in a different way ok I mean calling something else as music but participating in the process participating in the practices but do still doing it in a different way design has to do has to be with others occupy with others in a practice has a role in the practice only I mean my identity is always a role identity either I may painter or a or a faculty member teacher or a musician or a critic whatever I am these are all practices which I have not created but the in these accepted already created practices I have certain roles I occupy certain roles these roles would decide what I am so practices are not its creations the designs creations they are socially defined and culturally inherited task they are necessary for us but realize its possibilities in such practices example of music which I have cited now what is designs being in this context placed in an interpersonal context of various practices so I find myself in an interpersonal context of various practices you know this classroom for instance when I work in IIT Madras there are several things I do as a faculty member in IIT Madras several practices that go around me which are not my creations in an impersonal context as others can also occupy those roles and engage in such practices self understanding starts with understanding oneself by relating to such impulse in personal context so my self understanding as a philosopher as a as a faculty member here this necessarily happens by relating myself to such impersonal context of IIT Madras of philosophy or whatever I relate myself to a function that anyone can perform in order to understand myself authentic existence does not mean insulating yourself or excluding you completely from common practices but to do it differently attaining with the their self practices and roles created by the they authenticity is an achievement in that sense the as a has to discover the world in its own way different from the their self it is participating in the practices but differentiating oneself from the their self do not be that they be always mine retain that mine that that's I in in authentic existence I refuse to take responsibility of my actions and the design is responsible for its inauthentic existence as well as I mentioned earlier inauthentic means I do not take responsibility because it is they I am I am part of the they or rather I am the they self there but when I am myself I am in my own then I have to take responsibilities then the decisions are mine my inauthentic being is owned by me so inauthentic being is also owned by me now let us see on very briefly see designs ontological structure to understand the concept of disclosure truth as disclosure which is a very unique conception of Heidegger it is understood as a disclosetness or care interpreted in terms of the three temporal dimensions of past where you know you your past throneness or this dispositeness then future where I project myself to future my possibilities and understanding and present where I find myself situated in a context fallenness or fascination and throneness is I find myself in a world dispositeness is that is its receptiveness it is based on this dispositeness I receive things manifested in the different moods on the base of which the world discloses to me differently say for example when I am happy the entire world discloses itself to me in a different way when I am so sad and depressed the same world would be disclosing to me in a different way so it is the it is the dispositeness of design which is understood in terms of various moods which decide in a very crucial way my ontological character my way of understanding the world projection every concrete situation offers a range of possibilities for acting in which design projects itself and in understanding design projects itself onto such possibility so what is understanding is I mean I am relating myself to certain possibilities to future and in that sense every understanding when I understand something say for instance when I understand an object in front of me as a chair I understand it as by relating itself to my conditions that it is something where I can sit I can use for certain purposes it is meant for certain purposes in a social context all these objects entities I understand in this way by relating them to me to my context so in that sense I can say that all understanding is self understanding then fallenness where fallen away from itself as an authentic potentiality for being itself and has fallen unto the world manifested in idle talk curiosity and ambiguity I am not going to elaborate these topics these concepts because the most important thing is to understand the notion of disclosateness now or disclosure it involves a closing of or covering up of any real understanding of the world now let us see the truth as unconcealment this concept there are certain traditional conceptions of truth which says that conformity between our judgment and fact is so central so integral to our traditional understanding of truth which Heidegger opposes Heidegger has a very interesting and a very different conception of truth where he understands truth as alitia or unconcealment truth as attaching to propositions like that is a traditional conception where correspondence between propositions and states of affair when I say that there are two chairs in this room the proposition corresponds to the fact that there are two chairs in this room or when I say there is a TV kept on a table I am expressing a fact and the proposition corresponds to that particular fact Heidegger says even this understanding of truth is derivative from a more fundamental understanding of truth as self manifestation or revelation or disclosure actually this is what he emphasizes on truth as disclosure as unconcealment such a correspondence between propositions and states of affair presuppose a field of intelligibility within which entities may be found so what is that field of intelligibility that is the question that is design designs on the logical space on the logical horizon so unconcealing establishes this prior field of intelligibility unconcealing is an a priori transcendental condition even for propositional truth so this theory this notion of unconcealment according to Heidegger is what characterizes truth truth and knowledge everything I mean they presuppose this unconcealment so he says that this is the way in which truth was understood by the Greek thinkers the original Greek thinkers the meaning of truth which was lost in the course of the history of western philosophy where it has become later on identified with what you call correspondence theory coherence theory and various other theories so it is a Greek term is alitia which means disclosing or uncovering or discovering or revealing or making manifest that which in some sense lie hidden see so this is what I sometime back I mentioned about mood for instance let us say let us take an example I meet a student and one of my students whom I taught long long long years back say 10 15 years back I taught him and I meet him today on my way to my classroom he he comes and meets me and says that I have come to meet you I feel so happy seeing my student he is an old student I see I feel so happy in seeing him student as such the person as such will not generate such kind of a response to everyone who sees him everyone who sees him may not feel happy in the way in which I feel happy I feel happy I conceive this person in a particular way I understand this person in a particular way I mean with lot of happiness and all that because there is a context the context is that we are related in a certain way he was my student so all these things are important for Heidegger the ontological context of the of the being in the world is important the Zen is the field of is a source of intelligibility so that that is what is meant by the source of intelligibility the context in which things will become intelligible why there is happiness when I see a person another person who sees him may not be feeling that happiness because there is a domain of intelligibility that is me my the same truth as unconcealing is possible only because there is design without design there would be no truth at all entities require the design in order to be intelligible to recognize them as entities that are capable of entering into states of affairs that may correspond to proposition so all these see when I mentioned about the television is on the table this these objectives these entities like television table and their interrelationship it one is upon the other all these presuppose a domain of intelligibility that is me even that is presuppose I mean that that domain of intelligibility is presupposed by the statement for being true in terms of the principle of correspondence even things show themselves in many ways depending on the modes of access we have of them phenomenology is seeking after a meaning meaning is the entities mode of appearing things do not appear themselves they are uncovered to someone thus uncovering prerequires not only what is being uncovered but also another being this being is uncovered to that is to the human being the design is at the center of this process of uncovering so truth meaning knowledge everything is possible because there is design which is a context of intelligibility to which things events and the world discloses itself so it is not correspondence it is disclosure it is unconcealment it is al-ithya meaning is in that sense interpretation because there is no objective universal meaning every object it discloses probably differently to different people based on the context the ontological context of that design heidegger links phenomenology with hermeneutics in this sense and before the questions of being can be answered one need to ask or what is questioning the questions of being in the first place the this leads to the analytic of design which we have already seen and the things presents themselves to us this presentation itself happens in a manner which is self concealing and unconcealment is an event that happens to the side that is the way in which things uncover themselves or design leaves in this world understand this in this world so when I understand this world I understand it in terms of my possibilities my objectives my concerns my projects so mine that ontological horizon of mine my my existence comes into the picture it is at the center and everything around me entities objects other people everything around me actually I understanding it as essentially relating all of them to me to my ontological horizon we encounter entities as beings that are only in virtue of the world within which they can be disclosed and encountered and unconcealment is not only part of the world but also human condition itself uncovering is a way of being in the world so to be in the world to be designed is to encounter this disclosures this uncovering of objects to live in this world by relating oneself with other objects by being in this inter subjective domain of affairs world affairs is to encounter such unconcealment uncovering constantly the way we are disposed matters or modes possibilities and understanding all these things I have already explained so we will wind up this discussion here so the major points which I was trying to highlight is there are number one the ontological the analytic of design designs ontological analysis which reveals the structure of design and then you know the structure of design as revealed as being in the world with being with others and there the possibilities of design are to authentic or inauthentic existence and to be authentic or to be inauthentic their choices of design and when the design is authentic it is on its own otherwise it is just imitating others it is part of the day so here if you delve into the structure of the little deeper you will understand that this is again constitutive of certain structures which Heidegger would call four structures of understanding which is a pre-existent context of meaning which determines the ontological horizon of each design and the entire world is uncovered is unconcealed to this ontological horizon so truth needs to be understood not as a correspondence between facts and a proposition but as unconcealment where things the world is uncovered to the unique and peculiar ontological horizon of design so this is Heidegger's contribution we will see his influence is impact on other philosophers in the coming lectures where we will be particularly taking up problems in existentialism now let us wind up this lecture thank you


Hey guys, it's Killie and today I'm here with my August book haul video. I bought nine books this month which is really good compared to my normal book buying habits and in fact I've actually read all of them, I think maybe one or two I haven't, but I've read the majority of them. So I'm going to jump straight in and tell you guys a bit about each of these books. Firstly we have Palladero, The Writers of Thunderrealm by Stephen Lockring. And when I first heard this book I thought it was a ridiculous concept but at the same time I have been looking at it on the shelf since it has come out and I finally decided to buy it because I think it's going to be a Percy Jackson series and like a fun and quick read that you're going to really enjoy. So it is what a young orphan calls a Joss who basically wants to be Palladero. So Palladeros are people who herd dinosaurs when it's like the peacetime and then fight for the war when it's not. So Joss decides he really wants to be one and so he and his trusty raptor A's off go on this quest to find this egg that would make him become a Palladero while also discovering secrets about the country that they live in. And I just, I can't really wait to read it. I'm very excited so let's see how that goes. And I'm pretty sure that everybody has heard of the next book which is Harry Potter and the Cursed Child by J.K Rowling, John Tiffany and Jaffa Thorn which is going to be a play or is a play. One of those, it's new either way and basically this is the eighth book in the story and it's reaching around all of the kids. I've read it and I liked it. Also disliked parts of it. Like there's a lot of bad for a lot of good and I mean I just, I was very torn. Like I love reading scripts. I just did not like the story and the plot very much but the characters are like a new cinnamon. We also have the memory book by Lara Avery and I pretty much bought this inside of reading it. Almost immediately it's one of those books that looks bright and happy and colourful but has completely solved the string and sad and it just, I was so close to tears, so close. It is about a girl called Sammy and she has Neiman Picket Type C which is kind of similar to dementia where she starts to have blank spots in her memory and eventually she will forget almost everything. And also her body function stopped working and it's rare because a girl, her age has never had it before, it usually affects young children or older people. And so it's kind of on the line of whether she'll survive this disease or not. And so she ends up writing the memory book which is for her to write down what she does in her everyday life, what she was doing so that when she does have a blank spot she can reread it and see where she was without having to be too worried about what happens. And this book was really hard hitting and it's just, it's so heady but it's also good. I know if you guys have seen the trailer for this up and coming movie but I saw it two days ago, two days ago and I absolutely went crazy for it which is nerve and it features like Emma Roberts and Dave Franco and just, I'm so excited for it, it looks like it's going to be amazing and so of course I went and bought the book who is by Giann Ryan. Now I am going to say this, okay, I believe that the movie will be better than the book because reading this it was good but it wasn't anything amazing. So basically it features around a young protagonist called V and basically she is that innocent girl who's been overshadowed at school and basically she's just someone that lives in shadows.  Nerve is a game that is like truth or dare but with only dares and once a month they decide to do live rounds where they will have like cameras and watches, people who bring their phones to come and video certain players of this game and they have to do these crazy dares and they accept it and get prize money so I think she got like a pair of shoes for doing the first dare which is crazy and I would totally do it if it was a real thing but this is like a crazy adventure and honestly if you guys haven't watched the movie trailer do it now it seems so action packed and slightly thriller as well so I'm so excited. I have to thank Books By The Dozen for this next book I will leave a link to Instagram below. She sent me this amazing book and it's so beautiful and a bunch of other book merch as well which I'm so thankful for because it was like it was like a birthday and it isn't even my birthday. So she sent me this savage song by Victoria Schwab and it was amazing so basically this is a world that is divided in two like two separate gangs so you have the Flynn side and then the Harker side and then you have the two protagonists which you have Kate Harker who is this vicious mean girl who isn't actually mean she's a sweetheart but you know underneath that mean demeanor she is and then you also have August Flynn who is actually a monster so he is a snide which means that he's like a soul-eating monster so he plays some beautiful music on his violin and the person who has a bad soul he can only eat bad souls stops and loves his music and then he sees the red of the soul pretty much come to their skin and then he can walk up to them touch them and eat their soul and they die but it's like I said it's only bad people that he can do that too so I guess it's kind of fair Kate and August have their lives thrown together when August is goes to her school trained to be human and just to get closer to her until there is an assassination attempt on Kate and they pretty much have to run for their lives together but there is no romance in this book so you know it's pretty amazing. Next up we have the Atlias which I have also read but I will talk about that in my wrap-up video so basically this is kind of supposed to be a mystery thriller about a girl called Wiley now she has been in a tragic accident where her mother unfortunately passed away which you find out like the first chapter so it's no spoilers there and then her friend Cassie has gone missing so Cassie's mom barges into the house demanding if she's seen her and when she realizes that they haven't she freaks out a bit and then Wiley's dad and Cassie's mom and they're going to go and look for her daughter and in the meantime Cassie's boyfriend Jasper he comes to the house and he's like okay we need to follow this text message that she sent me without telling anyone about it get in the car drive across state and they go on this huge trip try and find Cassie and it's just absolutely crazy but yes all is not what it seems in this book you know obviously gonna be secrets and twists that will keep you on your toes and because I am total romance and Colleen Hoover trash I read it ends with us which came out recently and this book was so good I loved it so much it deals with matters that need to be talked about more often and dealt with the way that she deals with it in this book so if you guys haven't heard of Colleen Hoover she's a wonderful new adult romance writer and she just changes my mood all the time like if I'm in a reading slump I read one of her books and bam I'm back so this book is about Lily who has not had an easy past and at the beginning of this book she has just come back after being her father's funeral she's on the rooftop and then out comes this attractive man who starts kicking chairs around because it's had a terrible day at work as a neurosurgeon and surprise surprise he becomes love love interest of Lily and great things happened for quite a while in this book until they decided to add a bit of you know flame to this book we've got to have a bit of controversy and so Lily's old love interest atlas comes into the book that is a boy that she knew when she was just 17 or 16 or 17 and she was at school and he was a homeless boy that lives next door and so she kind of look after him and you find out about their past through the letters that she wrote to Ellen DeGeneres and it was just so so good and I just loved it but it's a beautiful book we awakened by Callista Lynn which is another absolutely breathtakingly beautiful book I just absolutely love this cover and the story itself is quite amazing so one of the main plot-selling points of this book is that it deals with asexuality and that is like a rare thing that is in YA books so this book is about a girl called Victoria who's had a pretty rough going her father died in a car accident her brother is in a Kometo state and for her there's not much happening in her life besides her dream of going to a dance academy until one day she starts to dream about this girl called Ashlyn who sends her messages from her Kometo's brother and when those dreams keep getting more and more she finds out that Ashlyn too is asexual and helps her to discover more about it and when she really needs Ashlyn's help Ashlyn takes up the form of a human and comes and spends the day with her but unfortunately that can't last for too long and stuff happens and it's just a really beautiful book that gives you a lot more information and background onto asexuality and you just kind of have to like it. These next two are poetry books which I have had the pleasure of reading this month and they were both so amazing and I just absolutely adored them. The first one we have is Milk and Honey by Rupi Kaurkar. I just know I'm doing that wrong but you guys can see it on there and this is like a very heavy yet wonderful book of poetry it makes you think and it makes you feel and that's kind of the best you can get when it comes to poetry. So as it says on the back here this is the journey of surviving through poetry this is the blood sweat tears of 21 years this is my heart in your hands this is the hurting the loving the breaking and the healing and it just is amazing. And next up a few of you guys might know who this one is but this is a princess saves herself in this one by Amanda Lovelace. I was so so excited to hear that Amanda was writing a book of poetry and I finally decided to buy it because I don't really buy through Amazon very often because to Australia it's like a ridiculous shipping price but it was totally worth it. This book captured my heart and I just I felt so much and it was so good and it tells basically Amanda's story in four different parts. So you have the princess the damsel the queen and then you and it was just it was so good. You guys have to read them they're both amazing especially if you guys are looking for a poetry book to start off with like I don't read much poetry but both of these are amazing and I'm definitely going to read more. So there you guys have the books that I bought this month. My pile of slightly backwards books because I can't stack books apparently. So like I said I have read the majority of those so I will be posting my book wrap-up video in a few days maybe a week I'm very unorganized I will just see how that goes. Thank you for watching and hopefully I will see you guys again. Let me know what books you guys bought this month and maybe give me recommendations so that my pile next month can be bigger than it probably should be. Bye!


Yes, I'm going to share my screen. Hi, everyone. Today's agenda. The first thing is, okay, so I've done some interactive testing with some unsupported extensions. I've tried adding those extensions and to see how our GitToolChooser is behaving when those extensions are added. And specifically asked for those results. We were having a discussion in the PR. So I think we can run a build and see it in real time. So in this project, I have a very small repository. It's under 5MB. So should I go to the configuration page? So this Jenkins instance contains both Git and JGit in its environment. I've specifically chosen JGit as the preferred tool. And so right now I have an additional behavior. I'm going to delete it and then I'm going to run this, build this project. So what should happen is it should prefer JGit and the recommended tool should be JGit by the GitToolChooser since the repository size is less than 5MB, which is the expected behavior. Now as we go to the project again and we configure the project and we will add one or two extensions, additional behavior, which are not supported by JGit. So now after adding those extensions theoretically, the GitToolChooser should not recommend JGit. It should recommend Git. That is what it should do. So timeout is also a feature which is not supported by JGit. So let's just save this and I have to delete to wipe out the workspace. Now why do you have to wipe out the workspace? Because if I don't then it is not going to check out the, not going to go through one of the functions I wanted to go through. So if it's available then it doesn't, it applies a different operation, right? So yes, here the recommended tool is Git. So I tried this with, right now I've shown it with timeout. I tried it with clone behavior where I included shallow clone. There also I saw the same thing. So I would assume that functionally the unsupported command is working how it should and the way we are taking that information, it's working how I expected it to. Now I think with this current feature unsupported command and the GitToolChooser what remains is testing in different scenarios. I would say would you recommend an exhaustive list of all the extensions which are not supported by JGit and then testing all of those extensions before and after cases? That is what we would want for each of the extensions which are not supported in JGit, right? I have done it with two or three. It certainly seems given how many people are using the Git plugin it seems safest to check as currently if there's an option in the plugin it's probably not only been used but likely misused and so I'm prone to say yes but I'm open to other discussion or other saying oh no, test 50%, test a random selection. The spot checks you did are great. I would love a broader check personally. Okay. Fran, your comments, your concern? Because you're asking a very valid tradeoff question. We're trading time to do interactive tests for other things, right? It's a valid tradeoff question. Okay. Yes, Fran. Sorry. No, no, no. I was about to say that. No, because most of my questions were all about the question that with your test have been answered. So now I have a clear understanding of your PRs. So now what I want is to review again the PRs and be sure that now I have all the information and I'm in a better position to review all of them. Okay. Okay. So the second thing is a change in design. So now what was happening before the change? So for Git tool chooser, we had two constructors. The first one used Git SCM source object to get the cache and it relied on the source, Git SCM source object to get the cache and the second construct and this constructor, so what we did was first we looked for cache if we could find it and we estimated the size and recommended the tool. If we could not, then we looked for extensions and then we asked for the size from them and if we could find that, then we could recommend the tool. Now, the second constructor I gave was an option if we just have the remote name and nothing else so that it can be used across other projects apart from multi branch project. So now Mark suggested that we should not need the Git SCM source object to get the cache entry and I did find that that we would only need the remote name to access any .git directory cached within the Jenkins instance workspace. So now we don't need two constructors, we just need one constructor which would require the remote name and then it would make the decisions. So it has two ways to find the size. The first one would be the best way we have is to determine it using cache and if we don't have that then we use the API, the REST API method. So I ran the unit tests again on this to make sure that the code is working with just the remote name. It doesn't require the source object and it is working well. It's all the cases have passed so I don't think we would need much. I would, I haven't pushed this code on the PR yet. I just wanted to show you first. So I think this is it with the design modification. I think we would need more design modification. I'm coming to the third point now. So that is related to the support of other extensions. So I've been looking at, so the first question I have with the support of other extension plugins is do we first, in our first go, do we want to only support public repositories and size related to public repositories or would we want to, okay, so we want both of them. So for that, I asked in Gitter about user authentication and Mark suggested that it would be best that we allow get the branch source plugins to decide what kind of credentials it should use to authenticate the user and then use the API to get the size of a private repository if it wants to. So with that approach, I was looking at the branch source implementation. I have some concerns. The first concern is that, so the way the branch source plugin is going to pass the credentials or get the credentials is same as I found in the git plugin. It's using the lookups scan credentials functionality. And so it needs three things. The first is the context that I assume is the job which is running. The second is the API URI, which is what we're providing. The second is the credentials ID. So as far as I understand, the two things, these two things is something we have to provide to those plugins. This is not something we can take from them because what I've, so yes, yes. One question about the credentials. Why is git client who has to provide that credential to the other plugin? I don't know exactly what is the, how other plugins are using the plugin in for the concrete case, okay? That's what I am asking. Because my understanding is that, ah, no, okay, no, no, no, no. Okay, no, no. I got it. I got it. I got it. Nothing, nothing. Sorry. Sorry for the noise. No, actually, I tried that. I tried. So my first implementation approach was to use the context they have or to use the credentials ID because I thought that if the source plugin is installed in my instance, I can use the context and the credentials ID. This project would have, but that would be, that would not work, but still I, so I wanted to do that. But then I figured out that I found that the extension is implemented as a static class. And all of these, whatever objects we are trying to access are non-static. So first of all, I could not figure out a way to get them in that I don't understand is that, is that possible? Because if the, if these are static classes that, that means that they're going to be shared across all the objects, which is not, which doesn't make sense with the credentials ID, because that would be linked to a particular object. So that's what I understood from it. So I thought that it would be best for us that the Git plugin, while it's asking for a particular size for a particular repository, should also tell what project it is. I have a very limited understanding of the class called item. That is what it is accepting item. Item is the context it wants. And then the credentials ID is something we can provide. And then we can, then it's, it's the job is, I think is easy. But now the question I have with this approach is related to the item, the job. So right now, when I did not pass any credentials, I, my, the Git plugin was, was, was using, so I was using a freestyle project. And I, and I used the API extension of BrandSource without using it, using it anywhere that, so my, my question is, if I want to pass it credentials, which means that I'm passing it a context, does the plugin, which is the BrandSource plugin, needs to be, needs to be used in a project. Is it necessary for it to be used in a multi-branch project? And if it's not being used, it's just there. It's inside the Jenkins instance and has never been used. Would it still be able to accept the context I have and use it to scan the credentials and connect with GitHub? Or am I? I think it's an excellent question. I don't know the answer, but I may have a specific example of a case that will, will likely fail and, and need some more thought. So, so if, imagine a freestyle job that is a credential, a job with a credential that uses an SSH private key as its credential. Okay. All right. So that's the credential ID we have. And now we ask the SCM repository scanner from the BrandSource plugin to scan with that credential ID. It can't because REST APIs are not secured by private keys. They're secured by username password or by tokens. Okay. And so, so I think, I think your, your question is a crucial one. And I don't know the answer to the question. I'm hopeful that the BrandSource plugins will see the dubious credential ID, ignore it or, or bias towards choose a credential that they already have associated with the, a particular repository, but I don't know that for sure. Okay. And that is something I, because they, they do validate the API you, you arrived provide. So I haven't looked at how they're validating it. Maybe they are doing what you are suggesting here. I guess it's the problem we're trying to solve the, to, to allow this for freestyle jobs. Is that? Well, it's to allow it for anything because we, we want the tool chooser to not, to not require that you must be a multi branch pipeline. Right. The tool chooser needs to benefit everybody. We would, we would like it to benefit everyone. And, and therefore if, if it can ask the question viably through the BrandSource, great. Ask, ask the question and get the answer. So what I can see from how they're validating their API URL, they are checking if the credentials is an instance of standard username password credentials. If it's not, they are throwing an IO exception saying unsupported potential type. Okay. So that you've already answered the first, first observation I had, if we inadvertently pass a private key credential to this, check API URL validity will fail. And that means that we will not be, okay. Right. But that's, it's, it's perfectly, they, they may not have anywhere in their system and a token for the branch source, right? They may have just installed the branch source and have no, no username password assigned to it. So, so failing is a valid, valid behavior. So then, I guess the other thing is how would you, how would you associate, I guess, are you doing a lookup on the, on the URL to determine that it's GitHub? Because the branch source plugin, I think it knows that it's GitHub because you're, you're, you've configured that as part of your multi-branch project. So in a freestyle context, like how would you know that you would talk to the GitHub branch source plugin versus the GitLab branch source plugin? I thought he just asked every, I thought you were just asking every provider, do you have one? Can you answer me this? Did I misunderstand, Rishabh? Yes, yes. That is what, so we've exposed a method which is this, is the URL applicable to your plugin or not? So if they, so then in that process, they can validate it using the API you are validating this method or whatever they would choose to. So then my question is, so for, for example, what I, so what I experienced while I was sending an unauthenticated request was that I was in a freestyle job, I was able to get the size of the repository without having a cache. And I did not have a multi-branch project within the Jenkins instance. It was just the only project. So with authenticated request, we would need to figure out a way that credentials are either the username password or they're a token. That is, those are the two types of credentials which would be supported by REST API. So, so then, so if the freestyle job but is configured by the user as with the private SSH key, then we, we cannot do anything about it, right? Right, I don't think, well, no, maybe that's too strong because it's, there are some of the branch source plugins that have, have various mappings that attempt to, oh, you asked to use this SSH key and I have a username password pair that I can use whenever you mention that. So, so there's at least one branch source that says, hey, I can do a checkout with private key but still use this username password pair for, for token-based access for, for REST API calls. So I'm not sure that you should optimize away the call to the branch source. We should ask them and let them say no. Okay. Okay, so, so then, so then when we are sending the repository URL for which we need the size, we, but we would send the context and the credentials ID. That is something we have to send. I think you're right. I wish it were different, but I think you're absolutely right. The thing that knows that I had the flawed idea earlier and it was obviously completely flawed that G, the branch source should just know the credential it will use, but really it can't, right? Because it has to know, has to know the URL and has to associate the, the credential with the URL. So I think you're right. I think we're going to have to pass it. Or maybe I haven't explored the branch source plugin in any of the branch source plugin where it cannot contain a map, could not create a mapping between the repository URLs, URLs and the credentials it has stored. It would, right? It would create a mapping. So if, if I am, if I'm sending a repository URL, it would be able to check if it contains the credential. Yeah, it's, it's certainly worth exploring, right? It is absolutely worth exploring to see, do we really have to pass a credential? But I suspect you're going to find, oh yes, we have to pass a credential. And I guess I'm kind of wondering like, because you wouldn't want to accidentally pick up the wrong credential either because that could like lead to credential leaks. Right, right. That's a novel one, right? Oh, I asked to scan the super secret everybody's passwords repository and I just borrowed the credential scanning the credentials from, from the Jenkins system. Yeah, I wonder if you need, like if it ends up not being a if it ends up not being a token or username password, like I wonder if, like for a freestyle job, if you'll end up needing to provide an option for the user to select their REST API credential, something like that. I don't know. Anyways, I look at the PRs, sorry, I'm behind too. So I'm, I think I'm slowing us down. That's okay. So I, so what you're suggesting is that if we, if we know that the credentials the user has passed would not be able to use for the REST APIs, we would ask the user if they can provide. Yeah, for me, that's, that's a very exotic case. I wouldn't worry about it, Rishabh. It's this is, this is just a heuristic, right? We know it's a fallible rule. We know it's, it's going to, to not always get it right. It's perfectly okay to say, yeah, in that case, we just didn't get it right. I think what I proposed was maybe like some later thing if we can't solve it correctly or something like that. Yeah, telling, telling users they need to modify their freestyle job in order to get benefit from this feature is probably not quite as dramatic as telling them they need to upgrade the plugin, but it's, it's, it's, it's still rather dramatic thing. Oh, in order to use this, you have to upgrade the plugin, upgrade the plugin. That's fine. But oh, and you have to touch every one of your thousands of freestyle jobs. Hmm. Okay, so this is something I have to explore more now. And okay, after that, because I think these are the things I needed to discuss. I, we have three PRs, three open PRs, which Fran has reviewed the get to choose the test extensively. I, so I think it's if the other mentors can review it and then we could merge it. So of course, I'm going to push the new, the change in design, which where we just need one constructed. So I am going to make that push that in about after the meeting, I'll do it. So then I, in terms of get to choose it, it's complete. Sorry, I'm sorry. I just forgot the extensions. It wouldn't be complete. It would work for extensions with only get a brand source plugin and with public repositories, not even private repositories. That is how it is created right now. So if, if it's important for us, if it's critical for us to first implement it with private repositories as well, then this PR will be blocked till we figure out a way how to manage credentials and how to pass them. So that's a decision maintainers and the mentors can make. Then the other two PRs we have are later to the unsupported command feature that is checking if the extension is compatible with JGIT or not, and then recommending a feature and implementation. So I need to add test cases for the unsupported command class. I haven't, I've interactively tested it, not added the unit test cases. So yes, this is the gotten status. I have another maybe naive question and forgive, forgive all the questions that may have already come up in PRs. I'm sorry, I'm behind on the PRs also. But one question I have is, for public repositories, if you use API tokens too often, then I think that you get throttled. Will that have a negative effect on us? What is the API limit, right? The limit we have. So the BrandSource, GitHub BrandSource plugin I explored, they have a function that checks the API rate limit every time you're trying to make a request. So I think we can, we can just, we can add that function and just we can hope that request not being. So I, as far as I know, it's for a, for an unauthenticated user, it is 50 times in an hour. It's really low. It's low. So that would be a problem. Yes, yes, Mark. Go ahead. I shouldn't interrupt. Continue. I was just saying that I, at the time of doing it, I thought that, let me just think about figuring out, figuring it out for once. I don't, let's, we'll think, so I was thinking that we would, at some point of time, implement the authentication and that would remove the rate limit question. So yes, Justin, that's a very valid question and we cannot do anything about it. It would be a concern if we have a lot of projects which are trying to, actually it would be a big concern if we have a thousand freestyle job projects which are trying to, but then they would, would have to have the same repository URL as well in the same instance. I'm not sure how this would affect us. So if a particular, as far as I know, how would GitHub know that the same particular machines, it would map it with the IP, right? So for a particular machine's IP, that is how it knows that, okay, this particular IP is sending more than 50 requests in an hour. And then, I think so. Can't we just, can't we just rely on the branch source to manage the rate limit? It seems, it seems like the GitHub branch source at least has heroic and I, I do mean heroic. It's got two different choices. I can either choose to use a, what is it? I can use a linear barrier or I can declare that, that I don't want to block rate API, rate requests, API requests until I'm very near the threshold. And so they've got, they've got an awful lot of intelligence already inside the branch source, that branch source anyway. I would, I would just rely on them to do it. Now, it's a valid point though. I wonder, given, given the, given the relatively insensitive nature of our request for the size of a repository, should we consider a cache somewhere globally, which a little hash table, which remembers, we've already asked for the size of this repository, don't even bother asking again. Rishabh, is that already happening or every time a repository URL is referenced, you ask the question to the, to the, to the REST API provider? Every time we ask for it, we do not maintain a cache or do not maintain any kind of information. That may be something we might consider just because we know that the, the size of the repository is unlikely to decrease. And, and it's also unlikely to take dramatic increases in sizes in any given 24 hour period, right? And if it does, we made a poor choice that time and we'll get better next time. So, so, so something like a remember, remember, and if we asked in 24 hours, don't bother asking again, is not unreasonable. And it's a way of avoiding, you know, oh, we already asked, we've lived for a long time, we can, we don't have to ask again. That's, that's a great suggestion. I, okay. So, a table which maintains the sizes for a 24 hour. Yeah, something, the hash map, right? I mean, it's, it's not, this isn't, this isn't a big data structure, right? It's, we've got a repository URL and a, and a value. I think we may have just lost our job. I think we may have just lost him. Although we can still see his screen. Yeah, it looks like it looks like the power went out maybe. So, I was just navigating through the rate limit and I found one deprecation notice that GitHub will be discontinuing the password authentication from November. Well, so what, what they're discontinuing is the use of your password as a credential. But, but you shouldn't do that anyway. So, it's a good thing. Right. Yeah, they're completely shifting to the API one. Right. Hey, Rishabh's back. Okay, Rishabh. Yeah, I had a power cut. So, okay, so I was just saying that that's a great suggestion, Mark, and I would definitely implement that. So my question is, would we want that in this PR or can we have another PR for that? Later, yes. That's, you're welcome to go much later. That, that is, that is optimization after we've learned many more things. Yeah, and I think my concern is just like, I think you would just want to handle like, if the GitHub plug in branch source plugin thinks that it's going to hit a rate limit, maybe it should just say, like, I'm not going to give you the size or something like that, you know, something simple that would take care of and not make the performance worse. It's kind of like the idea. And maybe you've already considered that and that's already being handled. No, I just expected that it throws an exception. I will just say that, okay, we can, we cannot give you the size. That's what I have done, but that's a very valid point. And I would, so with the exception board, but yes, so authentication is what I'm going to do. We have to look and the last question I have is, so right now we have the get to choose as a PR, but we, I haven't, I haven't, I haven't put the instantiated the to choose all over the get to choose, get plug in wherever we are creating a client. So, so what I wanted to ask was, would we want different PRs for places where we're instantiating different places where instantiating the tool chooser so that we can focus on those areas specifically and not just in one PR we were everywhere we have the instance and maybe we missed some particular edge cases where the chooser would break cases or is that, is that okay? A PR, a single PR where we have all the places covered where the get tool chooser could be instantiated for the client. Ask, ask your question again. I'm sorry, Rishab, help me focus. It's not. So the question is that would we need different PRs for different places in the get plug in where we're going to instantiate get tool chooser or would it be comfortable for us to review it in just one PR? This for the current PR it doesn't instantiate the get to choose it anywhere it's just introducing the class within the plugin and the tests. I have put it one at one place so within the get SCM checkout create client. I haven't added the multi branch for multiple projects or add other places on the plugin. Am I audible to everyone?  So one PR or multiple PRs you get to choose. I don't know that I can see one being better than the other. It's we know we know we've got PRs to merge on get client plug in. We know we've got some to review still and merge on get plugin and it may let you work go forward in somewhat independently if you aren't inside those specific PRs but you get to choose. I hope sincerely to review the PRs this weekend. I apologize that I haven't still haven't done my due diligence. It's okay. So that's it from my side, I think. I'll be looking into authentication, how we're going to support the extensions, credentials and more discussion on the Gitter channel if I'm stuck somewhere. So thank you everyone for coming. Thanks Rishabh. Bye. Thanks. Bye.


How are you, Flosie? I'm all right Are you good? Yes, I am Thank you You're looking all good, you're looking like 2023 Oh my goodness Fresh Thank you Yes, but who is Flosie? So, Flosie is a gospel musician is a vocal coach is a wife, is a mother who is born again I love the Lord is my saviour I hail from Kiamu just near here Yes, what a number 100 Representing Counts number 22 Yeah, I'm glad to be here today Representing through music I am a singer like you know and I love the Lord I love serving through singing through music and also training people how to sing That is what I do on a daily basis Training vocals to train dudes As we are willing to be trained here Oh my goodness To put your list key Do it with some mojambilita Miriam, now let's go Do that Nix, on it Yes, on your manly voice Very good We are going to have a choir around here You know what I mean? We are going to have a choir We are going to have a choir You are G But you can add kids To the kids that are available Oh yeah, you just add them We will just have to include them Just to have you in So I train people how to sing Be it in bands Be it in worship teams Sanasana in churches So prison worship team that's where I thrive a lot I also work in Kiambutao That's where I am The head of music So you train As well as your church members Yes, as well as my church members And even foreign ones Is it training a group of people To train Miriam alone Or Nix alone But it can be something else When it comes to training people Yes, training a team And especially grownups It comes with dynamics of itself But I enjoy it I enjoy seeing people Drive in their art Because The moment I have sessions with people With singers You just want to help that person Discover what their voices can do Discover who they are Discover where their strengths are Because at the end of it You find they can do something They even didn't know Or didn't think they can Do it very excellently So I like seeing that process It just makes me happy to see that process From an artist who is not Very well up Grumming that art, grooming them Step by step and seeing them thrive in their art And singing excellently It's my joy That's what I enjoy doing I can imagine Even when you are training 12 people Like a producer You see Mark Let me tell you Mark When that time comes Don't be fooled by my shorts When you get to work Then it's serious business Whether you're big Whether you're small Whether you're children Whether you're old people Whether it's children Whether it's old people Age does not matter As long as it's art Art is timeless So when you get to it Then you get into it seriously Not looking at how you look Or the giant in Guzmuhando's song It doesn't matter who you are I need to meet him How do you want to see him? We look up to him Just literally look down on us Let me tell you about your music Before you started training You started singing as well Take us through your musical journey My musical journey Has been quite a journey Beginning from way back When I was a young girl My family is very musical And being groomed In singing Then when I was young I just thought that my father My uncles can sing So I just thought it's a coincidence Because they are the ones training So I have to take leads But growing up and getting to it again and again I realized I have something in it So even concluding my high school life I knew I was going to pursue music As a career So finishing my high schools I went to school to study music So after that I discovered out of now the trainings I discovered I have a strength In training other people So that's when I took now vocal coaching As my dynamic Majorly in music So other than training I started singing as well I have recorded several songs And released them in the media I have a song called Nakupautukufu That was my first song I came to Muweza And then came to Rejoice The Rejoice that we have just done And then recently did a song Called Tamaka And now the recent Recent recent recent Then newly released It's called Hakuna Mungu Kamwewe So I enjoy Those old songs And those pambiyos The choruses that we sing in church Because I am majorly in church Even in my audience So I love those old choruses That used to sing Way then So I take the chorus I rendish on it And give it some modern vibe And then now release it Give it the energy that is supposed to have In the new season that we are in And now release the song So that's how I came to The just concluded Tamaka And the new release Hakuna Mungu Kamwewe So Tamaka It says that old Old song You did the rendition of it So Tamaka We sing it in Zahili Tawala maisha yandu Me I was thinking something else Tawala When you sing it in that language I'm like okay this is a new song Aha I know You can do it On live tv Ya in takuana So Tamaka So Tamaka We put a translation I listened to it earlier on And it was like wow And I was thinking Is it something that you want to pursue Kumbe it's just an old It's an old Zahili song That we sing every now and then So I decided to do it in my mother tongue So Tawala Tamaka Tawala maisha yandu Simple translation So I love the chorus And I wrote that song In a place Just in a place of prayer And telling God to rain And in that moment of telling God Tamaka Tawala maisha yandu So I just got to the song Thinking about The things that God says He is in the scriptures So in the first verse you're talking about The Lord builds the house Unless the Lord watches over the city The watchmen keep watching vain So talking about that And telling God the same thing with my life I need you to rain I need you to Tawala So Tamaka was born And your latest one Hakuna mongu kamawe So I have this new one This chorus also We sing it every time Hakuna mongu kamawe Hakuna mongu Hakuna mongu So the chorus actually all know So that song We were just In a moment of practice With a band in our church And I love Chakacha style So we were just Improvising Seeing what song we can take and incorporate it In the Chakacha style Even if it's not So Hakuna mongu kamawe That's how it came to be So just singing of the things Who God is And what He has done So in the first verse we're just exalting God Hakuna mongu kamawe Who He is Hakuna kamawe We're in Jehovah And then in the second one We're talking of what He has done Mawimbia metuliza Shalia mevunja So when we Bask in the goodness of God And exalt Him He dwells in the praises of His people So that's how this song Hakuna mongu kamawe Was born So coming to the chorus Of the song that we know And now doing it, renditioning it And giving it our own Identity and our own vibe Hakuna mongu kamawe The Chakacha song was born You're so young yet Vibing to the All pambiyos Do you picture yourself doing the Current sound Kama tu mona fom pia Ine jitanyangile Ya kina javidi su jitain Lesno Dekina moji shotwa wasi Maringo I'm highly fake Do you picture yourself doing such a thing Yes, I do them It's just that in the recent past That's where my Atmosphere has been Around church Environment Atmosphere of praise Ya, so that's what I've been vibing to But I still do the Uptown The upbeat kind of vibe But some of my music The likes of the ones that we have done The joys, muweza Yes, the like I mean, you know, in a jeans Ya Look forward to it Looking like this, you're like Nyangile Me, that's what I'm talking about You say me rejoice in you Look forward to it Look forward to it Now, for me I thank God that I can do several genres And do them in a good way So Now that I'm in church I do church music When I go to the youths And you find me vibing with them I am just them Well, am I youth still Even if I'm a wife, I'm a mother But still, I'm still Even the country knows The government knows I'm a youth Government Yes, yes Now, until later, when that time comes Ya You're a mother Yes, I'm a mother to one girl Her name is Yonita She's two years now Baby girl Hey baby Hello Anyway, is there any new projects That you're working on that we should look up to this year? Ya So there's a series of new releases That have been planned along Live recording? Ya, eventually So we're doing Worship moments with Flosie On YouTube and Facebook live I'll also be releasing A song every Three months And then eventually Towards Aga September there God willing, we'll be able to do Our live recording Ya, so look out for that And so many other things Along the way, and we have so many goodies And giveaways You can see your Flosie music And everyone that partners with us In making sure that we are on air We are live on YouTube On Facebook bringing you Good music, good vibe Worship kind of music, upbeat So look out for that Men, me skia to your patia goodies Tuna pata haji? Tuna pata haji? Tuna pata haji? Tuna pata haji? Tuna pata haji? Good forgive me It's alright, I know goodies are Really catchy and captivating So on my social medias On my Instagram And especially on my YouTube Anytime we are going live on YouTube We are giving out goodies So every Wednesday From 10 am And in the evening from 5 pm We are live on YouTube And every other time you are releasing a song When you are having the campaign Like they have kuna mungu kamawewe campaign They are goodies to give along the way So check us out Check me out on my social medias On Facebook, Twitter, Instagram And also on my YouTube channel You will find the details Every other day that they pop Ya, so kimbi atu ko Is our disquare angu peke That I am the only one Who is running together Anyway head over to his social Follow him, subscribe to his YouTube channel And you will be a blessing to her As well as any grittings Sala muzote Baby girl kwa po Oh ya, I want to say hello to my husband His name is Timodif He is Mr. TK I am Flosy Wangoi TK So hello Mr. TK To my daughter and our house manager Agata I really appreciate you I want to say hello also to my family My mother, my father And my sisters and brothers And my extended family And my in-laws families I love you all And I appreciate the support that you give me Also to my friends from Wakha At PCA Kiyambu Town The people that we work with And also the church at large Thank you so much for being supports to my music Thank you to every fan that follows me God bless you Hello to you as well God bless you God bless you God loves you And thank you so much J.C. Sako For having me today I want to say hello to my reverend Oh ya reverend My goodness Thank you From PCA Kiyambu Parish God bless you man of God Thank you for speaking into our lives Impacting us positively As young people to keep on serving God In spirit, in truth And in excellence God bless you and also to the chairman of the church Elder John and all the elders And all my employers Employers right And the employees as well God bless you Thank you so much for that Yes guys head over to Little Mesema social media follow her And subscribe to her YouTube channel Thank you so much for joining us Thank you so much Thank you Don't come alone You're forbidden Yes studio Yes Yes Yes Go check it out But Anna Yifanya Live Let's go