This is the Open Global Mind weekly call on Thursday, October 26th. We were just talking about David Graber's book about the pirates and Madagascar. An anarchist enterprise apparently. So you just asked that I start the eye companion it should have started already. I'm confused by it and I turn it on and it sometimes gives me some reason sometimes doesn't. I haven't figured it out yet. Oh intriguing mind has been consistently good where I get a nice summary after every call and it's turned on automatically before all calls. Hi Judy. Hi, how are you today. Good. Thank you. Thank you. Thank you. And whoops. Too many windows too many buttons. We're in a state of button overwhelm notifications. Yeah, exactly. Here we go. Here we go. The Betty's the Betty's. Betsy me Saraca people. And the book is called Pirate Enlightenment or the real Libertalia by David Graber and the leader is. That's a mouthful. We're just picking the next country that Doug should go visit because he seems to be doing the ends. He's in Malaysia right now. Much more temperate than Minnesota, I'm sure. The weather has been fantastic for the eight weeks I've been here. That's a long time. Doug is that feeling like permanent home now or are you going to be popping to other places. Well, who knows. Okay. Good answer. It's feeling pretty. Have you heard the term coddy whampling. Yes, I've heard it but I don't remember what it is. It's basically to travel in a purposeful manner towards a vague destination. And it's one of April it's one of the books and one of the words in April's flux book which is why I know about it. It's a good work. It's a good work. And here's an essay. Why you should coddy whample your way through life. I know a person once a year would put a dark board behind it on the wall face backwards with his back to the dark board throw a dart. And on the board was of course the map of the world. So it would determine where he went next. Did they spend a lot of time on the ocean. You keep throwing until you hit land right. I think it's right he did so. Yeah. Gotta have some rules with dark games. Hey Pete. I steered us back toward the music topic and I don't know where anybody would like to start or even if you are enthused about the topic but we'd sensed a lot of enthusiasm last time we were on it. Do you want to say anything more about it from just the word music. What is the topic. Music. And, and I'm, I'm being vague intentionally because I don't know what might show up if I under determine the topic. And it would be really interesting to take us you know maybe his music therapy maybe it's a friend of a friend of ours does sound therapy and has a whole room in her house. There are gongs that you can sit under and or tubular bells that she walks by and rings and a whole bunch of really interesting sound stuff. Go ahead Doug. I have one to start with. If play us as you can tell the quality of society by his music. What is our music telling us. Do you have an answer that I don't. Although I have kind of an observation which is when when society gets when there's a lot of stress. You get better music, you know, so the Vietnam War made a lot of great music. So, so anytime, like, I feel stressed about the stuff going on society is like well at least we'll get good pop songs out of it in five years or something like that. So I had a kind of to maybe maybe kind of to gills question music, so music what and your answer is great, of course, I would love to have a music call where I had done a little bit of prep for show and tell, because you know I have a bunch of stuff I would love to show and tell. But it's not something that I can, I can dig up on the fly, except I have one thing I have a really interesting observation. I think it was Ken on our last music call introduced me to a new acapella pop acapella group that I love. The Korean group matri so it's a wonderful thing to find so that just that find made like six months of OGM calls worthwhile.   But it was actually written by I think an Irish guy, maybe Scottish guy. And a young guy it turns out this this the particular song is an incredible earworm. And so I can tell, I think they actually shopped it around the guy wrote it and started playing it for different music producers and they actually had like a bidding war for the song. So this kpop group won the bidding war and did a good job with it. It's all in English. So it's kind of a stealth way for BTS the band to get more world exposure. So, so I never really got this song from pop culture three years ago when it came out and so I was hearing it for the first time and I heard it for the first time by this acapella group. And it's enchanting. It's super, super lovely and I play it over and over and over. And the group is super cute together and they're super the thing I like best about live performances is kind of the interplay between the people working together at the same time to do a complicated harmonic, you know, harmonically constructed thing. And then they do it socially kind of right everybody has to be on cue and doing the beats at the right time and everything like that and they just do a superb job at it. So I am enchanted by this thing. So then I went okay well I guess I have to listen to the real one I went over to the real one.  But anyway, the, so that the odd, the odd observation I wanted to make sorry for the long prelude. It is a real like real intense earworm. I'm hearing it like five days later, you know I play it and then I'm like okay I'm not they don't want to hear that I loved hearing the eight the acapella group I didn't really like the real one. But like over and over and over, it keeps playing in my head and not many songs are have been that persistent for me as an earworm, and this one is really nasty that way. So, I thought it was an interesting observation to make that that some are more than others, and this one is really intense. What was the specific song Pete. We're dying to be infected. Well, you know that I purposely kind of steered away from it and I did a probably a poor job of like saying that you didn't want to hear the song but but I purposely stayed away from it because I don't want to inflict an earworm on folks because literally. I want to know what it is so I can avoid it. This is this is Pete wearing an audio mask.  I have the name swapped out. And I could sing it to myself of course I hear it over and over and over and over. I'll put it in chat. So listen to the acapella one first at least you want to put a trigger warning next to it when you post it I'll put a trigger warning yes. What's that. We have a trigger emoji. We should there should be totally but if it was a gun which would be natural that would be a trigger in itself so probably a bad idea to do that but it's an only a negative it's pretty much a negative trigger so a different trigger would be better. That reminds me by the way totally different totally different topic but I remember in social text up on the whiteboard somebody was pretty good drawing figures, different kinds of like art stuff, and we had our quarterly onsite. We distributed companies so we had onsites instead of offsites.  You know, you have to have a whole suite of things that you candidate things to bring into business or new products or whatever.   It's an eye worm I guess I can still see that picture on the whiteboard. Stop this project to the puppy dies. Exactly. Yeah. Listen to the acapella one first know that it's not a perfect recording they used a single mic in front of the five people or whatever six people. It's not a perfect recording but it's a perfect performance. So, and I think this group matri also does they'll do song tunes like the Mario Brothers game tune acapella. They do a great job at the foundation. They do they do really crazy stuff they'll do the Nokia ringtone. The movie studio like openings all that kind of stuff they do great sound effects. I wish they did more pop songs but the sound effects are great too. Thank you. Thanks.  I did came down. I know sometimes it does that. Thanks. Although new in zoom is that it will raise my hand for me sometimes. There's a if you can turn that feature on. It's usually seems to have gone off now but anyway, Detect raised hand is a thing you turn on full of surprises so three things first of all Pete I'm delighted that the GM is finally proving worthwhile for you that's really good to hear. Yeah, me too. I'm glad I paid off at least once. Jerry it's a long investment but you know we're done now we can move on. I feel like I feel like Pete's win might serve all of us just in case nobody else had a win so totally. Doug I didn't know Plato said that I love that if, if, if, if our music describes society what does our music say about our society today, incredibly diverse. The first thing that comes to my mind both the society and the music and I love the diverse. Well, so be a Jerry I love the diversity of the music I love that I can kind of wander into any tradition any style any mood. And lately I've been finding lots of refuge in music. You know, turn off the news and just go into a few hours of just music. I found myself truly interesting, just not categorizing not not evaluating judging thinking about it but just sort of dropping into it. It's a kind of meditation without knowing that it was but I found I found myself just empty of everything but the music. And it's been a wonderful experience in general and very welcome right now. And third I will say about my favorite kpop and Pete is his G friend, which turns out to be a girl band of some note, and I have been not not for a while but I used to get deluged on Twitter by either, you know, 12 year old Japanese girls who love me. Or, you know, 13 year old Korean girls to say can I have can I have your handle. Yeah, exactly. I really love to have your hand if you can be G friend complete, you know, and it's been it's been a very funny interchange, but you should make yourself their mascot. Say, hey, I'm willing to be your mascot. I tried I actually tried to contact the group and be their mascot because apparently they have some environmental consciousness and thought it would be a nice play together. I didn't I didn't make it through the handlers. So my boy, my boy humor says that that that that may have been a provocative invitation. It does sound a little odd. We'll be with that. These were young innocence so please. So two things one the thing Pete said earlier about how stress creates good music is totally one of my beliefs and my favorite music era, like I said this on our first music call is from the 70s when American music was really weird. But in South America there was a lot of oppression and dictatorships and so you get new a trova tropicalismo and a couple other movements in Chile and Brazil. Yeah, Chile Argentina Brazil basically create insanely beautiful music that is protest music in different ways. David Byrne did a whole David Byrne is has incredible musical ear and tastes, and he did this whole series on Brazilian music, which was several albums and was just beautiful really love them. And if folks missed it there was a long profile of David Byrne I think on 60 minutes in the last that's quite quite rich and insightful. Exactly. And then second thing sort of an answer to Doug's great question, because I think the stress. I think the stress comment also addresses Doug's question like like the music reflects the times. And so I'm expecting some really good music come out of this era because we're pretty stressed, but in contrast to that, and I think I mentioned it not on the music called but somewhere else, April and I just went to see the arrows tour movie. And I think Taylor Swift is a sign of the times, not merely because she's moving economies which is a thing like a major thing. But also because her music, her music is mostly about heartbreak, usually with with boys and occasionally with industries, like the music industry. And I don't know it's before going to the movie I couldn't recall a single Taylor Swift tune. Like, I was like, she's really popular I know it. I think I've heard a couple of her songs, I couldn't sing one for you right now. I remember the day when the first album I could sing back and forth was Elton John's Captain Fantastic, and the Brown Dirt Cowboy and I could sing every word of every song on that and I knew like when one song would end my brain would start like the melody for the next song that kind of thing you've all been there before. And then post post movie of the tour event. I had some earworms in my head where I found myself during the day like coming a Taylor Swift and I'm like well at last, and I'm not sure that was a good thing. Stuart. Yeah, I know I've mentioned this before. But, you know, my go to is Jackson Brown. When I think about him and his music and his catalog, you know, he wrote some extraordinary existential stuff. When, when he was in his, you know, late teens, early 20s, and his music goes back to the, you know, late 60s. And it was, you know, introspective what's life about and, and what am I doing and the kind of stuff that teenagers and young 20 folks, you know, think about. And I've always fallen him and seen him, you know, every few years whenever I can catch him. And when I was dealing with, with my late wife's illness. I missed one of his albums in 2014 I think. And when I went back and listen to it was just extraordinary social commentary. And, you know, whenever I, whenever I kind of am losing it. I put his music on and it just amazingly just touches my heart. It's so incredibly healing. The musicality of it, but also the lyrics of it.  And he had another album a couple of years ago called standing in the breach. And, and, and recently in the last year or two we had an album. I can't remember the name of it. You know, but it's very, very current in terms of what's going on in the world and still, half of his albums have great pop tunes that just, you know, that you just, you know, in a Taylor Swift modality. But they also kind of, you know, say something. And of late, I've got this inclination to travel to go see Billy Joel in his final tours because he can't, you know, Madison Square Garden is impossible you can hardly get tickets, but there's a show of his in Tampa. I think sometime in, in February, and he's performing with Sting and Sting is an extra another extraordinary performer with with amazingly rich vocal tones and lyrics and you know, he's been a Buddhist practitioner and a meditator. And I think a lot of his life and you know, has managed to sustain a 40 year old 40 year marriage I think in his, in the context of his music wrote a great Broadway show that wasn't a was a critical success but not a commercial success about growing up in a seaport. In England. So, yeah, and, and that's, you know, some of the, I'll go along with Pete in terms of doing a little bit of preparation to pay a couple to play a couple of the contemporary Jackson band songs that really speak to the challenges that we're having he talks to, you know, from immigration to the climate to, to ownership rights to I mean, boom boom boom. And the other interesting thing about him is that over the last couple of years, you know, he always had great hair, and obviously it was, it was styled before he went on stage. He stopped doing that. And he just let himself go go kind of shaggy it's still long but maybe let himself go kind of shaggy. And the last concert I saw of his was in Napa couple of years ago, and it was like going to a revival meeting it was like this preacher, you know, trying to wake people up. In, in, in song. And yeah, so I just can't say enough about Mr Brown as a matter of fact I got my Jennifer was never a big fan and I took her to one of her one of his concerts this one in Napa.   It deserves 100% of your attention to listen to what he's saying and now, you know, she's become a fan. So you'll appreciate then that I took Jane to a grateful dead New Year show at the Oakland auditorium once. Yeah.  And I went down to the Florida dance and she stayed up there studying anatomy flashcards. So, there you go. There you go. Pete, thank you for the long list of hazardous music. I think there should be a whole genre, like caution, beware all you who enter here. So, if we're talking about contemporary music. I think that, you know, the whole genre of rap, and, and, and it where it comes from, you know, certainly deserves mentioned and taking, and taking, taking a look at at its, you know, ideation. Yeah. I, something flashed for me to it's not rap. It's pop, but it's kind of noise pop from UK. There's a, there's a band called bones. And their big hit is about being women and having somebody say it's called pretty waste. Like, they're, they're hot looking women. And they don't want to be hot looking women, they just want to be people. So they, they turned into a song.   So another song that they had I just heard it yesterday. I remember that I really liked it. It's a I'm afraid of Americans. And I was like, yeah, I get that. What's noise pop, the term for me. There's, there's a genre of, and it's not a technical term it's it's the way kind of I classify my head. They use a lot of kind of distortion and it sounds loud. So it's kind of like the to say something that I wouldn't be happy to hear if I were bones UK. It's, it's kind of like the bubblegum pop version of heavy metal. So it's got noise to it but I'm actually a bubblegum pop person that's what I like listening to you best. So, another really good example. It's not quite pop. But there was some music that I was really enchanted by this guy named Boreta. I'll put a link, and it was really amazing to me the first time I heard it I guess I heard it on a on a dance, somebody was doing dance to it. I couldn't parse it as music. It just sounded like noise. And, but noise with a beat and a rhythm and stuff like that. And, and so that was like super enchanting. And I listened to it for a while and then I could finally hear that Oh, it sounded like something that you couldn't make with MIDI.  Back to Gil's comment about the variety of music available I'm on completely on both sides of that because on the one hand you can reach out and listen to anything on the planet that you want to. A while ago I haven't done this in a while but there's a website or a station that let basically let's you tune into radio live radio from anywhere on the planet. And so you could go listen to Ghanaian, you know, music channel station and see what they're playing and listen to them comment, you know, comment locally and hear the local ads and the whole thing, which is just a lovely way to sort of travel virtually. And then Peter might have been you who said this somewhere recently but music is being produced and homogenized and also as we start to get generative AI produced music. It tends to like there's this blending towards the mean of some sort. And it starts to really sound alike it starts to. We start to lose the variety in some weird way because there's a certain set of hooks and rhythms and whatever else tempi and things that make a song go viral and they're everybody's after audience. Go ahead, Gil. You're muted. Well that's john cage right. There's something fascinating about the, the, I don't know if it's an interplay or just thinking or something there's mashups which is one of the phenomenon of these times such as diversity but mashups I'm thinking of like, I just heard this week and Israeli Arab piece song being done in my lifestyle is terrific and it was like this moment of joy and the grief of now that actually broke was first of my tears broke through in the current Israel Palestine Gaza. There was a mashup of these two very different worlds and somehow that feels different than homogenization. They're both blending of different traditions but they somehow work differently.  I don't know what the differences between. For me mashups were a really creative phase because they, a lot of mashups I saw involved really different things brought together in a way where you're like, damn those things work together. There's a bunch of insight and creativity there and mashups weren't, from my perspective, an attempt to get a lot of audience and hack, hack music tastes in order to win the, the top 40 contests kind of thing. So I like mashups a lot. And I think I mentioned last call that that my day on I think I added it to the chat as a French guy named my day on who uses an Ableton, and says, in the name of the song is these are my 30 favorite songs, and he creates a mashup of these 30 songs that is that is itself a lovely tune, and a really interesting tune in different ways and so you know, more of that is great. Go ahead, Stuart. Yeah, I just, I think that it's really such a subjective experience in terms of how certain, you know, rhythms hit your essential vibration. That's just, you know, so, so important. A noise came up. I can't listen to noise. You know, like acid jazz anything in jazz that goes into the acid quality. I just, I just can't listen it.  It depends on my mood. Yeah, that that's that's the things that I can't stand some of the time, but are exactly welcome some of the time. Yeah, yeah. Generally, generally, I think it's extremely poignant that that your phone's ringtone just went off during this call that was great. Yeah, thank you. That's actually that's actually Jennifer calling from Bangkok. So I'll get her back as soon as I finish saying what I want to say. A couple of other things, you know, pop up for me as as as really wonderful favorites. Paul Williams. Short guy had an Academy Award winning song. And he was named Trison I think called Evergreen. And he disappeared for a while and you know, as he became famous. He, you know, got into addiction. And then he disappeared because he became an addiction counselor. I saw this. I can't remember where I saw it be was performing in San Francisco about 1518 years ago, and a very small venue and I bought three of the CDs and she's, he's just got a marvelous tonal quality and, and, and amazing presence to him. And, and then there's, you know, one of the all time favorite Motown pieces, you know, Marvin Gaye's what's going on that some think is one of the greatest song albums ever produced and the whole genre of Motown including, you know, one of my favorites, and I don't know if anybody's ever listened to them, but a couple that just, you know, wrote and recorded and did some amazingly wonderful music I saw them at, at the Nico, just a couple of years before. Ashford died. Beautiful, beautiful individuals. I also love you mentioned what's going on, which is a gorgeous song all by it's lonesome and then people do things I'll paste it into the chat in a second I just have to see that the URL still works, but it's like what's going on performed by performers all around the world. And they're all kind of listening to the tune and recording it themselves and then somebody edited together just very beautifully. And it's really moving. It just moves around the world but it's also very moving. Hey Julian. Readings. Julian, what's your go to music, either genre or song or thing. I don't have a go to one I like everything from the year 1600 to now. It's more, it's more what I don't like. It's a country rap hip hop. And one of the things I've noticed is I tend to prefer symphonic stuff. So, for example, you know, Beethoven like everyone has a favorite of mine, but if you get more modern, they call prog rock like yes. But if you look at yes is music it's actually they're actually a small symphony. When you listen to rap or hip hop, there's nothing but a beat and people speaking words. There's, there's no exercise and creating music there. I mean it technically qualifies as music right by the Oxford dictionary definition, but it's in the answer to what's to go to it's really where they go ways. Well, Rolling Stone made the mistake of missing hip hop entirely and became irrelevant really quickly. I don't know how or why but that's just my knowledge and what I want to I mentioned Ted Joya last last call we had on music. He is a phenomenal prolific music analyst he's incredible. I'll post a link to his sub stack here but I'm on his sub stack. And I just don't know how he does all the things that he does. Pete, go ahead. Pete, can I throw on one other thing? Yeah, please. I think in the past I've mentioned my senior thesis at Berkeley. And when that kid of mine comes up here he's going to photograph the drawings. And I'm going to assemble a PDF of that thesis along with the output and have that available and might be in the University of California archives. Hey, I like Julian's observation of funny. I had a similar way of describing my musical taste when I was entering Caltech. One of the things that what what music you like to listen to was really important because people would end up playing their stereo is really loud with their doors open in the dorm. And so if everybody kind of got along it was good. So I remember describing you know I like any kind of music except country. It's really true or not. But, but anyway, I like that Julian's distinction between symphonic and and maybe pop the, the, the period of time over which you evolve themes. And, you know, and how many different kinds of themes you want to mix together and stuff like that it's a really interesting phenomena. Since me of science fiction. I learned, I started reading science fiction when I was like 10 or 12 or something like that and I just read voraciously. And I learned that I cared a lot more about the ideas of a story than the exposition of a story. And so I got shorter and shorter and so, you know, like a 1500 word story with a lot of interesting ideas was always a lot that moved for me then you know 100,000 word novel, you know with maybe the same number of ideas but spread out over lots of exposition. I also wanted to come back to what Stuart said about the way the rhythm or whatever the, there's, there's, there's definitely music that I listened to that most people wouldn't listen to and vice versa right. And it's, it's, I feel like it's, I don't know how this works but I remember when my daughter used to do dance stuff. You know, we'd go to dance recitals, four or five, six times a year and there's a selection of, you know, cool pop songs or whatever that the kids are dancing to. And there were certain songs where it was like, okay, I for me is like okay stop everything I'm going to close my eyes and I'm just going to focus on. I don't know the melody or the rhythm or whatever about this particular song right, and it always surprised me that everybody else didn't like have to just stop and like listen. You know, obviously it's different for different people but I, it was, you know, there's, I, it's a real thing and it makes it weird to share about music, kind of because you can't say this is the best song ever because you know it's the best one for you and it's not the show the best for other folks. Thanks, Pete. Julian. I made a cryptic comment in the chat window about one four or five, which in music theory is the tonic the subdominant the dominant chords. And what we call pop music is generally this progression. It sounds nice to the air to go from the tonic to through the subdominant up into the dominant it sounds nice. But it's very simplistic. And if you listen to say Lawrence wealth music. This would be the kind of harmonic progression that goes through showing no imagination. And I'm going to bang on rap and hip hop again because they don't even do that they never modulate they just stick with. They pick a tonic and maybe they'll modulate to another tonic later but there's just there's no exploration of music generation. Gil. Yeah, on on that note Julian was incredible stuff on YouTube these days of, you know, not just the world of music but the world of investigating music probing music, unpacking music theory, unpacking the, you know, the, the, the structure the of stuff really fascinating stuff which I never learned in any substantive way. My best music education was Leonard Bernstein's young people concerts which still stand up, by the way. There's one, there's one piece on YouTube that says like you know like best three minutes of music education I ever get and it's not, you know, it's up there as a candidate. But, you know, Rick Bido, analyzing pop music, a bunch of a bunch of pianists who play all sorts of things in the styles of different people and unpack what the musical structure and dynamics are in that so really rich opportunity to both get exposed to music and also get some understanding of what's happening when you listen to things and how different tonal qualities and moods and so forth degenerated.  So just one thing on that I've been for the last few nights I have been just playing every cover I could find of the name just left me. I still haven't found what I'm looking for you to many versions of them and many versions of other people and some of them very rocking and some of them very quiet and one I just double on last night. I found a soft finger picking guitar instrumental rendering of it that is both very different and very congruent with the original mood of the song. So that's one of my current votes. Pete, I love finding like a song that a bunch of people have done and the different kinds of versions of it and it's surprising sometimes a really sparse one kind of captures the song better than a lot of other other things. I wanted to come back to Julian talking about kinds of music and certainly the, you know, 145 pop thing. A lot of pop music. The, it's interesting the musical exploration is very limited, you know, it does like, you know, a very minute fraction of the things that you think to modulate stuff. There's it. I'm reminded for for a number of years I was super into a subgenre of music coming out of London. That was called drum and bass, and they used almost entirely it was built around one drum, one drum sample, and it goes really fast. And it, I think it tickles my noise thing. But, but I listened to enough of it I was enchanted just by the sound of that sample I think that I listened to enough of it that I started to realize that the modulation in the song, they would have these four or five minute songs that sounded almost the same the whole way through. But what was happening was the modulation was the way that they repeated the sample would change, and it actually evolved over time so it wouldn't be a quick dramatic thing. But over the course of a couple minutes you could hear the evolution of the way that the sample is getting getting repeated. And that was actually the musical content of the whole piece, more or less. The slow evolution of playing with the rhythm and probably a little bit of the tonality and stuff like that. And it got so that I could listen to that. You know, somewhere in between a symphonic sound, some phonic thing and a pop thing. It was this other thing that was modulating a different part of music than is normally modulated and it was a lot of fun to listen to you muted. Thank you. Sorry, beginner's mistake. You're reminding me of Steve Reich's piano phase, which dates back to 1967, where the same exact pieces played by two pianists next to each other in slightly different tempi so that the pieces basically go out of tune, cross and then come back into synchronized. It's just really interesting because you know exactly what's coming next and you have no idea what's coming next. It's, it's, it's like, you get immediately what's happening. And then it's interesting at every little turn because of because of the overlay the overlap. It's really cool. Now you're muted. Yeah. So Jerry, after I made my comment about Plato, you paraphrased it as music tells us about the contemporary moment. That's not what Plato meant. He meant the opposite. That the music tells you about the culture and closer to what we were hearing from Julian, that it's what's missing in the contemporary music that tells you a lot about the culture that you're in. Can you, can you find the right quote so I cannot miss quote when I quote it. And does anybody else have background on this or anybody do you or anybody and when else want to dive deeper into it because, for me, like, I see music often reflecting what culture is doing not what culture is missing. But I think both things are probably happening all the time. I don't have a direct source, but music was really important for the Greeks, who saw that the structure of the universe was music. And therefore that music ought to be the basis for all the education along with dance. And the appreciation. So the music and mathematics went together as a single subject for the Greeks. Back when we were talking about that I found this page on Plato and music which I was going to read later. It's clearly really central and important to his philosophy and not something I knew about. Jump in on this particular slice. Okay then. A couple things. What else what other what other twists and turns. Should we do another call on music or should we switch to visual art with a lot more notice. I apologize that there was such short notice I was just like last night I was enthused that our last music call had been so good so I figured I would put it on the menu. But you're right. It's more fun to have more time to prep on topics like these. And we last time had said why don't we switch to different arts.  And then just a note I want to add is it's nice to have a couple calls and GM where we're not talking about global demise and our collective crises and catastrophes it's actually really really nice to be in a more positive space, even though we're well intentioned when we talk about all the crises. So thoughts. Steering steering committee steer. Yes, is my thought. All you just said Jerry. It occurs to me kind of that. I feel like I can talk a little bit more certainly about music having watched a ton of YouTube videos of people talking about music. And similarly I was like, I wonder how you could talk about visual arts but then I realized I've got a lot of kind of technical knowledge at least about image composition and contrast and color and things like that but so in in a space where there's a fair amount of existing kind of thought and thought of an exposition about, you know, about the art form, then, then there's a framework within which we could, you know, work to speak better sculpture for instance on the other hand I, you know, I don't know how to tackle that as well kind of It's interesting because it seems like we could also kind of mash together a recent topic with the visual arts topic which would be like storytelling plus visual arts. That would be an interesting combo to go into, because a lot of people are experimenting with how to do storytelling with funky new media. And there's a lot out there. So, that might be a good, a good path in. Literature. Not so much nonfiction, but literature. Yeah. Yeah. There were. I just started watching this last night, we could do media we could do TV shows. You want to you want to take a temperature reading of the culture. Go look at what's playing on TV. Exactly. Exactly. One of the books I read this year is called chemistry lessons, which is a wonderful novel, completely entertaining novel and it's now a series on Apple TV that I watched a few episodes of yesterday. Is it lessons in chemistry. Yeah lessons in chemistry. Bonnie Garmas. Yeah, that's that. That's it. It's about a woman who aspires to be a chemist and she's and and she ends up doing a cooking show. Oh yeah, that's right. It was a very entertaining read and and they made a good TV show. It's just coming out now I saw the trailer. And then he just put understanding comics in the chat one of my favorite books about like, not just understanding comics which is the self evident title, but about how our perceptual systems work. How we frame things, the magic of the artistry of things. And how it is, I've met him I met him at a conference once years ago, really interesting guy too. That's really like, so analysis of arts effects on us might be a slice. So going a little meta on the whole thing. Yeah, and the thought that I just had in response to that Jerry was that the idea that, you know, each of us, because we're different is different art forms for whatever reason. And a little bit of explication of, you know, why you're attracted that art form and what in it is, is a value to you and might be a value to others, you know, I mean I know there's a lot of art forms, you know that I just kind of poo poo a little bit. I don't take the time to dig in but if somebody else inspired me, I might try it out. Go ahead Pete. I had a gift from Michael in it on a, on a one on one call I had with him, where I was, I had just finished watching probably. And I was like, I'm actually singing dynamite. I was all excited and alive about the, you know, the artistry of that and the, the harmony that this group had. And, and so I got excited about that and explain more about, you know, we went to different, our compelling groups and different live performances and stuff like that. And I'm always self conscious about that because I know, as previously we talked about, not all the same music is the same interest to other people or like Stuart you were just saying you know different things are interesting to different people. The gift that I got from him was like, Pete, it turns out that, you know, maybe the thing that you're, you're excited about is not the same thing I'm excited about, but I loved seeing the passion that you had and the excitement that you had and, and hearing the story of it. Now I can look at, at the things, some of the things you showed me, and there, there are just details I never would have known about, you know, you told me a whole story about, you know, the details in the background of it because you knew about it and because you were passionate about it. So, it reminded me that sometimes having, you know, even if you're not interested in it having a guide who's super passionate about it helps you appreciate something that you wouldn't have before and it helps you like learn about a lot of stuff that you just completely missed it. And maybe you might even get excited about something because there's part of it that you were missing, because you'd never had an introduction to it that, you know, once you've, you've had an introduction. It's like, Oh, I get it. Let me look for more of that. It's lovely. Our, our, I love the word amateur, which is about love, you know, amade, and also dilettante is a word that's been like really deprecated because to be a dilettante is not good but that comes from delight that comes from the Italian delight, because it's somebody who delights in a lot of things. And our sharing of our love for things is I think fascinating and, and our wonderful way to go into things. Thanks for that explication of dilettante. I love it. And appreciate it. Not a bad word. Good word. No, no. Good word. Doug is an ace on etymologies, especially when it comes to capitalism and related phenomena. They're also like, we're all from Western tradition. And in Bali, they have. Now I'm even forgetting what it's called. What are the performances in Bali called. How can I have forgotten it so quickly. Please hold. Pardon. The orchestra, the orchestra. Yes, exactly. But what's the name of the orchestras. Gamalon, that's it. You said it, but you said it, but I didn't hear it properly. Yeah, Gamalon music and, and also, if you go watch Kabuki theater or whatever the kind of Asian music and scales that they're using and the way the performances work is dramatically different from what is pleasing to the Western year and really interesting and then the blend of the two is often really fun. And interesting and there's a couple artists like David Byrne and others who've kind of gone and traveled widely. Paul Simon, I think is one who's done a good job of that too.  It's weird though when when Paul Simon started doing that people jumped on him for quote appropriation. Like, you know, how can you dare do this you're stealing music from other people. But music has always been mashing up and moving around and adapting and modifying itself staying in this. I think it's in this wonderful film called bring on the night which I encourage people to see if you have it Michael apted. Movization of the of Sting's entry into jazz mashup. And someone accused him of his stuff sounding like other people stuff and he said, he said the genius borrows nobly. And it wasn't meant to I don't think it was meant as a self inflating comment but to say that that's what that's what artists do. You're influenced by each other. And, you know, we all we're all influenced by our lives and incorporate our experiences and manifest them in the ways that we do. That's a good point you'll because you think about it when you study art they can they talk so much about how this one artist traveled from Madrid to Paris and saw this other artist painting and decided to do something about it. And in classical art study this is considered the proper thing. So, it's called, it's called being influenced. Yeah, each other and by life and experience so yeah. Yeah, and it should be, it shouldn't be limited to painting right as you point out is this music does this. If we dug around would probably even see it in software development, which is I would point out an art according to Donald Knuth. In some interesting way Knuth's epical, nearly biblical tones from his first from his, what was he in grad school when he wrote them like incredibly young were him offering his shoulders up to everybody else like hey here's a whole bunch of like fundamental algorithms and ways of seeing programming. And then, and then the libraries and the places we've come to in programming I would be really interested in just hearing a couple people who run deep in this like Pete. And Julian, basically to describe the different areas of computing that even they've experienced in their lives because what was possible or what we were doing five and 10 years ago has changed dramatically from today and never mind 30 years ago. Right. I mean I got my first computer was an apple to plus I'm not a programmer, but I was learning how to like fall through the monitor mode and wander around in the memory of the computer. And you've got to do special things now to do that to fall through the, the figment that's on screen and see how the thing works. That'd be fun. Thanks, my DPD. I was having a conversation just yesterday where we were, I was complaining about how books lock away knowledge. And came up with a variant on standing on the shoulders of giants it's like the giants are being kidnapped and sort of locked away and I said it more elegantly yesterday I'm trying to find that because I thought I took notes about it but anyway. I feel like we've talked through where we are right now on this we could wrap the call early or we could go someplace that you'd rather go. I'm open to either be happy to wrap. Do you want to start rapping. Haha. It just was a topical pun I couldn't resist it was like you gave me a layup I took it. That that was my rapture. I'm done. You're done. That was the shortest strap I've ever heard. Do you know about the comic strip pearls before swine. I think so. I've heard of it. But you know that every third days is some really magnificent pun. Go find it. Well, cool. Why don't we wrap this call and see you all in a week. Safe travels, safe healing. Thanks for being on the call from Malaysia Doug. Enjoy your music. Yeah. Bye everyone.


Our nation's nuclear deterrent capability is deployed in what is called the strategic triad. 15th Air Force operates two of the elements of that force. 82% of SAAC's intercontinental ballistic missiles and 40% of the manned bomber tanker force. In addition, 15th operates the entire manned strategic reconnaissance force. In this look at our 15th Air Force heritage, we're going to examine the most formidable of weapon systems, the ICBM. From a beginning greeted with as much skepticism as our early flying machines faced, ICBMs have quickly evolved into the highly sophisticated and reliable systems we see today. The story is an interesting one, one which I hope will help you better appreciate where we are today and where we're going by understanding how and why we got here. The British people were breathing easier this June day. Britain had survived the blitz. The German Luftwaffe was now ineffective as a strategic bombing force. Six days before, the most massive invasion force in history had stormed the Normandy coast, signaling the beginning of the end for Adolf Hitler's third right. But today, a new threat from the sky would invade the British comm. June 12 would mark the opening round of Hitler's flying bomb offensive, designed to create civilian panic, and strategic warfare would never be the same again. Manufactured for a mere $750 each, the V1 flying bomb actually was a pulse jet-powered pilotless plane with an 1,870-pound warhead. In less than three months, over 8,000 V1s were launched against English cities. They would cost Britain over $40 million in industrial and residential damage and thousands of civilian casualties. Later in 1944, in a desperate effort to stave off crushing defeat, Hitler would unleash a second terror weapon, the V2, a non-air-breathing ballistic missile with a speed of 3,400 miles an hour, capable of striking London from launch sites in Holland. Over 3,700 of these were fired at England and at Allied supply bases in France and Belgium between September 1944 and April 1945. Earlier, German military scientists had successfully fired a solid-fuel rocket from a submerged submarine. Now, plans were laid to have U-boats tow V2 missiles into positions off the U.S. coasts and fire them at our coastal cities from special canisters. The V2 culminated a German rocket redevelopment program begun in 1935 and based on the rocket concepts and experiments pioneered by this man, Professor Robert H. Goddard, born in Massachusetts, profit without honor in his own country. In 1926, Goddard's ideas took shape with history's first liquid-fueled rocket launch. In 1930, he fired a rocket to a height of 2,000 feet. By the mid-30s, however, his pioneer work had still attracted little interest in pre-war America. But his achievements found eager disciples in Germany and, as would later be revealed, in the Soviet Union. In May 1940, with Hitler on the march in Europe, Dr. Goddard offered all of his research data, patents, and facilities for use by the U.S. military services. The result, 18 months before Pearl Harbor, was only mild interest in the possible use of rockets to assist in aircraft takeoffs. Unrecognized and unheralded, Robert H. Goddard died on August 10, 1945, two days after VJ Day. Ironically, the rocket weapon his genius had inspired, the German V-2, was brought to the United States and became the centerpiece of an American missile program. Shortly after the war, the Army began a large-scale testing program at White Sands, New Mexico, using 100 partially completed V-2 missiles. Experience gained here led to the Army's Jupiter program, the Navy's Polaris, and the Air Force's first efforts poured a long-range surface-to-surface missile. First proposed in 1946, the subsonic air-breathing snark was designed for a range of 1,500 to 5,500 miles, with a top altitude of 50,000 feet. It was launched by two solid fuel rocket boosters and propelled by a single turbojet engine. Snark survived the 1947 cutback in military funding and filled the gap until a true ICBM was operational. Reverting to a peacetime economy, post-war America had little time nor money for military projects, but 1948 brought ominous rumblings. The Russian challenge in Berlin was met by a massive airlift that broke the blockade. Czechoslovakia fell to Soviet domination, aided by nuclear know-how stolen from the West and by captive German nuclear physicists. The Soviets detonated their first atomic device in 1949. That same year, at White Sands, the first two-stage liquid-fueled ballistic missile was launched. It combined a first stage V-2 and a second stage of American design and reached a record altitude of nearly 250 miles. In 1951, the Korean War was in its seventh month when headquarters USAF directed air material command to establish Project Atlas. A stated requirement calls for a rocket-powered guided missile in both ballistic and glide modes, with a 5,000-mile range, speed over the target of Mach 6, accuracy within 1,500 feet, and atomic warhead capability. Missile technology so far had been hampered by problems in propulsion, guidance, and nose cone reentry, compounded by the heavy weight in relatively low yield of available atomic warheads. Now solutions began to take shape, resolving basic issues of missile design. The blunt nose cone proved superior to the earlier spear-like design. Low-thrust rocket engines were added to the second stage to control nose cone trajectory. The simpler, more familiar radio-inertial system of guidance was chosen over a more sophisticated all-inertial system. Hydrogen bomb tests in 1951 and 1952 produced a major breakthrough in warhead size and yield that radically changed the whole picture. The results changed the original Atlas missile configuration and made possible fundamental alterations in missile capabilities. America's thermonuclear lead was short-lived. By August 1953, within five months of Stalin's death, the Soviets had detonated their first hydrogen bomb. The American Atlas project, laboring under a 10-year development plan, was spurred by new scientific and military studies calling for an Air Force intercontinental ballistic missile system within six years. In September 1955, President Eisenhower assigned the highest national priority to ICBM development. But in August 1957, the Soviets announced successful launch of their first ICBM. And two months later, the world was awed by Sputnik as the Soviet Union grabbed the lead in space. By this time, Atlas had become the largest military development program in U.S. history. Its first successful launch came in December 1957. The missile was stored in an above-ground concrete shelter and erected to launch position after fueling. There was a new urgency now in the wake of the unexpected Soviet accomplishments. The Thor intermediate-range ballistic missile, given its own high priority, had undergone successful launch with an all-inertial guidance system. Plans for Thor included 120 missiles to be deployed to the United Kingdom by July 1959. Early in 1958, the Department of Defense approved a new program calling for mass production of a simple, efficient, highly-survivable ICBM weapon system. Minuteman was born. Meanwhile, Titan I, a two-stage liquid-fueled rocket-powered ICBM using both radio and all-inertial guidance, was successfully launched in February 1959, less than four years from the date of original contract. It utilized a hard silo lift launcher. 15th Air Force was 15 years old when, late in 1959, it gained its first missiles, the Atlas-D complexes at Francis E. Warren Air Force Base, Wyoming. On July 1st, 1959, the 13th Air Division was activated at Warren to provide the single manager system already familiar to aircraft units. Also activated that year was the Air Force's first missile maintenance squadron, the 706th at Warren. January 1960 found crews from Warren beginning training on the Atlas-D at Vandenberg Air Force Base, California. Their training was climaxed by a successful first-effort firing on April 22nd. Also in January 1960, the command became involved in another ICBM program. Minuteman was assigned to 15th, with three squadrons announced from Malmstrom Air Force Base, Montana. And by June, the first mobile squadron was announced for Hill Air Force Base, Utah. Operation Big Star tested the concept of a mobile missile force employing railroad car launchers. Four trial runs on a 200-mile closed track were conducted from Hill. The idea proved feasible, but was considered too costly compared with the Syro system, and it was canceled. 20 years later, the mobile concept was resurrected in the MX. The first ICBMs were declared combat-ready on September 2nd, 1960, as the 564th Strategic Missile Squadron located at Francis E. Warren Air Force Base. 1961. An infamous wall rose in East Berlin, and the West was challenged again. President Kennedy declared an emergency, and thousands of reservists were recalled to active duty. By mid-year, 15th Air Force numbered 13 Atlas units, two Titan II squadrons at Davis-Monthan Air Force Base, Arizona, and a growing number of Minuteman units, and commanded over 75 percent of SAAC's missile force. In January 1962, a separate wing was activated at Davis-Monthan for the Titan II, the largest most powerful missile developed by the United States. It featured more powerful engines, a first stage of 430,000 pounds thrust, and a second stage of 100,000 pounds thrust. A larger warhead, all inertial guidance, hypergolic fuel enabling extended alert periods, self-contained oxidizer, launchable from hardened dispersed underground silos. Each silo was connected to an underground launch control capsule, and was manned by a combat crew of four. The Titan IIs were operational at Davis-Monthan by the end of 1963. Each squadron had 45 crews. With the introduction of the Minuteman in 1961, reaction time had been substantially reduced, and survivability was greatly enhanced. In contrast to Titan II, Minuteman was a smaller, three-stage solid-repellent ICBM using all inertial guidance. Its range was approximately 7,000 miles. In startling comparison with the 17 crew members required for the first Atlas-Ds, the early Minuteman system needed but a single two-officer crew for each 10 missiles. Soon, the Minuteman II incorporated a new, larger second stage, improved guidance, greater range and payload capacity, and further increased survivability. To prepare for emplacement of the new model, it was necessary to completely retrofit the original Minuteman I launch facilities, launch control facilities, and associated ground equipment. With the addition of the reactivated 564th Strategic Missile Squadron in April 1967, 15th Air Force was assigned 700 of the 1,000 Minuteman launch sites in SAC. Ultimately, the command gained yet another 150 for a total of 850 of the 1,000 Minuteman missiles. By spring of 1967, significant progress had been made on development of a third model Minuteman, with an improved third stage, more penetration aids to counter an anti-missile defense system, and capability to carry up to three independently targetable warheads. On April 17, 1970, an important milestone was reached when the first Minuteman III was emplaced in a silo of the 741st Strategic Missile Squadron, Minot Air Force Base, North Dakota. Eight months later, the 741st became SAC's first operational Minuteman III unit. By July 1975, the Minuteman ICBM Force stood at 452 models and 553 models. A number of modification programs were in progress, aimed at increasing both the survivability and flexibility of the SAC ICBMs. Among them, the upgrade silo program for increased hardness against enemy attack, and command data buffer, providing for the rapid remote retargeting of Minuteman ICBMs. 15th Air Force crews distinguished themselves throughout the missile test launch program that began back in April 1960 with the Atlas D. In March 1962, a crew from the 389th Strategic Missile Wing at Francis E. Warren successfully fired an Atlas D before an audience that included President John F. Kennedy. Seven months later, the Cuban Missile Crisis triggers confrontation with the Soviet Union. During that year, another Warren crew demonstrated for the first time multiple countdown and launch procedures. Crews from Davis Month and launched six of the 19 shots in the Titan II operational test series between March 1965 and March 1966. Crews from Malmstrom fired 27 Minuteman I's from summer 1963 to fall 1964. Two Minuteman II's were fired for sighting in space by Gemini V astronauts Gordon Cooper and Charles Conrad during their epic eight-day flight. Crews from Ellsworth Air Force Base South Dakota carried on for 15th with 18 operational test launches of Minuteman I's between February 1964 and July of 1965. They were joined by units from Minot Air Force Base North Dakota to complete most of the 60 shots in a two-year follow-on test program. On January 25, 1968, an airborne missile crew from the 44th Strategic Missile Wing at Ellsworth took part in Operation Olympic Trials 7. Aboard an EC-135 aircraft, they sent the enabling signal to launch a Minuteman ICBM. It was a successful test of the airborne launch control system, an innovation of the command control communications which ensured execution of a validated war order of retaliation against an aggressor. Throughout the 1970s, the missiles of the 15th Air Force stood strategic alert far underground, an unseen force for nuclear deterrence in an increasingly dangerous world. In 1973, war broke out again in the Middle East. President Nixon in a move to counter Soviet threats of intervention placed US forces on worldwide alert. 15th Air Force missile crews joined in an increased state of readiness. As 15th Air Force enters the decade of the 80s, the Soviets are engaged in the most massive peacetime buildup of military force in history and show fresh evidence of willingness to use that force to gain their end. The message is clear. As the leading edge of the nations and the free world's strategic defenses, SAC's responsibility has no respite. There is no leeway for letdown, no room for relaxation. In this context of constant alert, 15th Air Force continues to play a dual role in the strategy of deterrence. Surely now the motto of 15th Air Force, born in World War II, is completely fitting for its Minuteman and Titan Missileers of the 1980s, aggressive in war, alert in peace.


Hi everyone once again welcome to this LPS course we will be continuing our lecture on TK we finished talking about tickle I hope you have all the things well understood now now we will talk about TK actually we are we are actually discussing TK for last two lectures today we will be continuing that but before we go into like today's topics itself I am going to give you a brief overview of what we talked about some of the things may not be very clear in the last couple of lectures, but then we will see how I can clarify those points so let us do a recap so mainly like we talked about the TK fundamentals so the GUI essentially we fundamentals actually basically there is concept of event the event is any operation or movement using mouse or keep keep at nowadays even like the finger moments on that screen things like that are also like you can call it as an event but traditionally what we meant was one of all the mouse moves like I don't know whether you can see that there is a dark moving over or some kind of keep at presses is an event on a window and then the move itself you can say that it is moving the mouse from one point to another point that it constitutes a move and then the key press is basically any key either the mouse keys the particular one like the right click left click or middle click or a key on the keyboard you can also add additional stuff like the role rolling of the mouse things like that so the main thing that we will be talking about in TK is how do we develop applications that can capture these GUI interface and work with them to achieve whatever the that you want to actually one more execute a particular command so the other concept is also regarding the windows the window is any specific area of the terminal usually for the triangle and it is bounded by a frame so we will talk we will see what is the thing and then widget is the other concept which is part of the window that does a specific task basically it has a shape and it does a specific task so these are the two points that you want to understand basically the regarding this in most of the textbooks and things like that they use window and widget like as synonyms but in this class I want to separate these out and basically window is a collection of widget and how we will define it you will see this again and then most of the things that we will be worrying about is regarding the widget and how do we enable the widgets and how do we work with widgets how do we assign commands to widgets how do we create with this things like that that is all covered under this TK or toolkit so here is a brief look at the concept so you can think of this entire region being a window okay so the window includes actually if you look at it there are four widgets as such so there is a frame which is probably the widget number one no actually the widget number zero and then you have this is number three and then you have this portion of this window which is itself is a widget that we call it as widget number one we will see like I mean we have already seen like how these things are defined but anyway and then there is another piece here which is also embedded here that is the widget number two and then the third piece which is basically this is all the directory name send them this is widget number three in fact you can also think of this structure here as another widget four so altogether now you get like active five widgets in this particular window so remember this concept we will come back to this essentially like I mean so and each one has a different function as I mentioned so for example this one is what is called the banner widget it just displays the banner the frame widget essentially like outline for thing and then this is the menu a widget which contains like the what are the menus different menus here it is file and help and then the main display widget which is this one plus there is a menu bar widget which is essentially make sure that this crawl bar and move up and down okay so that is the basic concept of windows and widgets so in a sense widgets are objects instances of classes so now we are introducing a new term called classes that represent buttons frames and so on so if you look at here actually this could be we can make this as a button and we know already that there is a frame okay so the first thing you will need to identify in the need to do is to identify the specific class of widgets widget that you would like to instantiate so for every class of widget we have an equivalent command which we will talk about it little later in fact we covered this in I think lecture number two or lecture number one rather so classes are important because they determine the president if there are multiple bindings to a single event so what are these bindings essentially the bindings are essentially like I mean once you have an event you can trap that event and then you can make the widgets perform certain functions based on the event the event could be like a key press moving whatever it is basically like you can make it perform certain things and to determine like I mean how these go when there are multiple widgets involved the class actually can be one of the so we will see like whether we want to and by the way the multiple bindings are legal and will result in multiple outputs which is also pretty much okay for example here there is a cursor move from one place to another place and cause of windows to become active as well as some command that may start running within that window so both of them are simultaneously having activated and both of them are running simultaneously perfectly okay sometimes we want to be specific so this is again something that we covered in the last lecture and then couple of other points to note is the widget command itself is deleted when the widget is destroyed so any command associated there with the widget solve like something is on so where is this command what is this that is also we covered but I will talk about it in the next slide and then one thing to note is the state of the element of the widget of the state of the particular window it should be readable modifiability and this is the principle that we operate with within the this framework so again like what is the state state is basically like once you get an event how do you respond to it and that is the state and then that state is essentially what we will be talking about so like the structure of the TK application we talked about this basically the widget hierarchy which I will cover once again and then there is one tickle interpreter which basically interprets all the tickle coding underneath these widgets and there is just one process you can have more than one application in that process but it is only one process in in particular and then we already talked about the widget basically again widget and windows are synonyms kind of most of the cases we will say like I mean basically it is even though it says particular look and feel it is basically we define very strictly as it has the widget is a as physical shape and it has a single purpose okay I mean this is the same thing that I talked about here shape and a task okay I will just add this thing physical shape and then a singular purpose so widget classes implemented are these ones I will also like cover some of this in the next slide too but think of this is frame label button check button radio button menu button even button has like so many different classes and we have menu as another one message entry text canvas scroll bar scale list box and talk about so we will be talking about some of these things basically writing a text we will talk about we will talk about canvas what we can also is we already talked about frames and buttons other things like the menu button and things like that have specialized items of these buttons themselves so you can actually look it up on those things and then we will also probably cover the top so let us see how do we create a windows or create a widget or basically an application so we need to create the main window using the WM command and then the top level actually like there is also a top level a command called top level to create the top of the then we define widgets within that window again for this I want you to remember the widget hierarchy where we started with the thought and then multiple dot txt or frame things like that basically like there is a whole bunch of these hierarchy that we talked about so remember that basically and then that is how we are defined and the way that we define is we start defining widgets one at a time so here saying that frame is another one widget basically with a size and then we can use back place these are all like command names so we can do that and then we can also create other classes of widgets whether within the hierarchy or at the top level whichever one based on the application needs we create these other widgets with the buttons dialog box and then we define the commands that can be run on these widgets using the dash command option okay so this is the this is something we talked about and then we also bind events to commands using the bind command so the events are again like those key presses and things like that so the we can call this button but maybe we see a run and then this run gets activated only if the key is pressed on top of that run so that is the event that we trap and then run particular command and then that is denoted by this command and then once we do this and we create this the graphical picture as to how this application looks like and then we go ahead and do the depend all the procs within whatever we are coming up with inside this the graphical picture so all of them we have to define which are declared in all the previous sections so with that actually like we saw some examples but let us see like I mean so the top level widget is again the dot and any other widget is defined as hierarchically from that dot so dot and then x a under x you have y under y you have actually like under x you have and here but like this then you have z and then under a you have y which is not the same as x of x dot a dot y here x dot a dot z so particular widget and then how do we configure widget this is another thing that we saw this is using the config command or configure command so the beauty of this command is the it is the same command that is also you can use it to query the particular configuration for example here as you know like I mean window is dot x and we give this config command and then say like background make it red so now the command goes and actually like configures the this particular window with the background color of so now if you omit this red and then just give x config dash background that returns this string and you can say that basically like this is the background and then that is said to background that is the dash background and then actually the background color is determined by f of e4 c4 x or in and then it is actually red the actual color red so it gives you like all these information one thing we notice you know I can query these but you know these things are just noise I don't want to do any of these I only want to know what is the background color and I want to know just red so how do we do it so here there are there is one additional function that got defined which is actually it is a synonym for config get called see get and see get basically when you when you give that command with the dot x and what is the option which is background you directly get just x just red so it is a very handy command policy get so give that in mind and then we can actually in fact if window is already configured we can actually change the existing configuration of the widgets using perfect amount so again some of the popular classes of commands also the objects essentially in the windows button radio button menu canvas frame text this box now I also talked about tags essentially the tags are objects associated with the text widget essentially and then the each tag is referred to via a name chosen by the programmer each tag can have a number of different configuration options the things like fonts colors etc that are there will be used to format text can be put in as a tag even though like I mean the tags themselves our objects having a state they don't need to be explicitly created they will be automatically created the first time when the tag name is used okay so here the text for example and the tag is on figure highlight line background yellow font and really raised basically does that to the text window as defined in this command then we also talked about this binding order essentially which is what is multiple bindings match anymore as I mentioned everything goes in parallel but we can make it most specific which is one binding figures for tags and it follows the default order of the tags this is the digit class top level then all but we can change the tags with the bind tags command so again we can also like bind a particular tag to a particular window so one thing we notice here is like just a general tag is text for using these highlights and all that but in general any tag can be bound to a particular window and reclassify that window into a different one okay so here like I mean we can say like bind tags not be my button and then we can also say that it is bound to this particular actually like I mean so this is who all so that is what we are doing the bind tags for and we can we can also like I mean if you want to skip a particular tag we can just say break and then that can actually skip some names tags as well I am going to refer to the textbook for the exact definition of the bind the tags essentially like it is a widget class name basically like a button or whatever it is and then so that is where it is bound to so that is what we covered in the last lecture today we will talk about some new topics in the tk class basically and again we will use some examples to illustrate how tk works for these ones so here is an example for a calendar or it is called tk camp okay so we first initialized the global variables without basically months generally separately all the months of here then we can execute this command called date the date actually returns these this whatever this particular string which is like the day the month the date and then the time the time zone and then the year so we take the month as the index one of this string can anyone tell me like I mean why this is one actually this string starts from zero so this is one and then the index for index number five denotes the year so again we count here from here this the exact date is actually two this entire thing is three this is four and this is five so now we get like month and the year now we can expand the abbreviation that date gave us basically for so now we can say that in this loop we can set we can find out like I mean which month it is so basically like run it through this and then essentially like we are seeing whether there is a match for or any particular month that we got here in this so the way that we are doing it is essentially like a string match where we do like dollar month because we can go with the the whatever like this this particular month that we read in with all these things and we just do a string match and when we do this multiplication actually this can result in a zero or one based on whether it is matching or not when it is matching we capture that and then the you know we break the loop so here we define some menus the menu action basically which is called a do menu that is what we are defining which is we just set the month to dollar and this is the global month essentially and then we basically configure these windows essentially got it and then we configure with that particular month so now this will generate it here this number and possibly this year now we need to generate the calendar output so we can run this program for Cal and then collect its output so to show calendar that is the next prog that we are going to write which is having the global as month year and months which is passed from the top level into this program as you know which is already set all these things so now we do a list search of the month with the month itself and then we make it plus one essentially so this will give you the index plus one this is essentially like the actual month representation so as you know here this index actually is 0 1 2 3 but in reality generally is 1 2 3 4 a plus 3 4 right so we need to add that from that index so that we get the actual month and then we use the Cal program where we pass the Cal problem this month the number of the month and then the year and then we basically get the whatever the result is and then here like I mean we just define from error conditions also just to make sure that it doesn't error out and now for the same window essentially like there the it's a text box window we will talk about that in the next one we delete and then insert the output of the Cal right here essentially like set Cal is here only where is in there when is that the error which is set to error but otherwise it was set to the calendar from the Cal function now we set up the top of widgets basically we set up the frame and then we pack how to define that and then we have a menu button and then that is the dot md so here the same thing so that it is configured as the month but we have another menu item which is defined as a window under this form md which is called the m and then that has a width of 12 and we just pack that towards the left now how do we populate this one that's for essentially like I mean we say like for each month in m basically then we add a command to get the label and put it in so now we have to look at this picture we have this is all that we set now we need to get to the date and then we can see the calendar so now for the the the year again we essentially like I mean we have a variable called year and this five and then basically that is where we can enter the year and then these do similar kind of things basically we set up a button called C calendar that is this button here C calendar and then that also has a text width and various parameters so this is a this is a text command which is a text window and then we pack and then we say the initial display is show calendar okay so this is one full example of a typical calendar or a pk calendar I think like you can try this out first at your free time and then see how it works and then pretty much then it will become self-explanatory so a few more things basically this is something that we already talked about the C get widget essentially like we did we say like C get foreground it just gives the black again as I said earlier it is very easy you know much much more easier than doing wdw.w configure and dash foreground this gives all kinds of jump right we do not need this now the as similar to Perl the E and V array contains the environment variables so E and V home in the editor things like that so you have like multi-line area text area widget essentially like I mean that the text widget essentially the text widget is essentially a multi-line text area widget with a number of features thousand and one features you can do editing and you can use emacs key bindings you can do scrolling from manual and from code x and y axis and it has a flexible text formatting multiple fonts and monthly colors are supported text tags that we talked about earlier and then also selection manipulation selection is something one command that we talked about in the last class I will explain some more either in this class or later on and it also arranges text and embedded widgets in lines the lines can wrap but cannot flow so what are some special widget commands set get delete select mark tag search see window y view x you bind these are all special widget commands for the text widget and then the configuration options we have a state that we can define height and weight height and width the spacing one spacing two and spacing three and then what are the state tabs and then we can say like insert background and or select the text that is there inside the text widget have the following things one is called index which is essentially like a line dot character so if you have like the high lines and then say like I mean line starts at one and character starts at zero so this is something like one two three four five and then this is zero through what I will say 18 and then now you can actually go exactly to say 53 and then you can read out this number of chapters and then we can also do mark basically a name for an index essentially so you can say like I mean T mark set my place 6.23 so it will exactly let do that and then tag is also like I mean you can use tag to find the ranges of text for example you can say like the tag add my words 6.23 6.30 so it will go to the specific location and then perform this function just called the add and then same thing so this tag will be very useful and as I said basically the tag is one thing like I mean it is not a permanent command basically the state is saved so a tagged text can also be configured and we can use configure command to configure the tag test and then the tag text can also have bindings we can bind certain e-strokes to that particular command and then we can call it to execute certain things and then usually the text widgets can serve as the geometry managers for other widgets so here is one quick example essentially which is using also this new command called image so using the image we create a photo file photo and dash file called bar.gif which is this one now we say basically like t.l image image 1 and then t window create 1.5 to t1 and then that brings up this window here so then now we come to the syntax coloring mini editor so the tk emacs does not customize syntax coloring using the regular expressions like emacs i like 9 package it still has one text widget one scroll widget and can read and save files about 100 lines of well-convenced code is available through this through this program so we come to tk emacs basically like for all machines routine so here also like I mean we see basically like for all matches we give a pattern and the script with the w option so first of all we determine the number of lines in the widget which is scan in w through end and if you count the number of lines it has some value basically and then for every line we increment the line and then basically like and do a using regular expression we kind of find what is there and then basically like we generate that as a mark set command and then we pass it down and then move on and here is the do color souping essentially which is for all the array names and for the all the syntax pattern arrays called name we go ahead and delete the tag and then basically do the tag first last okay and now we load that file for loading the file essentially we call the file and then we set the file as file open and then we just want to insert that particular data and then the right file is essentially like when you open the file and then just write it so here we define all the colors and basically all the form that we wanted okay so continuing with the text widget the tag text can be configured so that is using this dot t tag configure my words foreground right and then the tag the text can have bindings essentially so if you have a text like this it can actually bound to the my word don't list that list so it need not you don't have to do it explicitly and then the text widgets can serve as geometry managers or other widgets we will also see this basically how this works and then the syntax coloring many because the pk emacs does customizes does customizable syntax using coloring of coloring using regular expressions like emacs highlight 19 package it is a one text widget one scroll widget one read and write save files and then about 100 lines of well talking in the code what is the rationale behind the tk emacs so here is another one for all matches routine so here we define that for all matches w pattern script and then we do a scan basically like to see whether that exists here we just calculate the number of lines essentially and then in this loop essentially we get the end and then we add the one point to it and then the do color routine basically does the coloring here is specifying for each of the arrays you also specify the syntax pattern and then we basically we can go ahead and delete the tag itself and then we configure with some configuration values so the do color routine essentially the same if it works the same way basically like we delete the that particular file and then we fail except a file open to the dollar file and then until the end of line in the file for the dollar w insert and insert n and then so that will be the read of the thousand lines and then the right file same thing where basically we do the opposite this is the right file w file and then we do f open log dollar file with the w permission so here you see basically let me show you this open file and then we basically whatever we collect in that window we just say puts and then the dollar w and then we just close that file so we take a look at some of the emacs how it behaves in terms of other other thing so one is the set syntax pattern or types which is gets all the also numeric characters and then set syntax colors types yellow that checks for that syntax pattern directives again syntax colors or directives and purple come that is another thing then the syntax patterns for new line types essentially and then therefore that we but here essentially like we can see that once we have the the syntax patterns new line so syntax pattern new line types essentially has all these various types whether it is character it is a short or integer long unsigned signed float and then we declare the color essentially as yellow and then the syntax pattern is the regular alphanumeric and then if all these are commands also and then following the commands again it is a alphanumeric and then we also specifically look for certain syntax pattern to do so star of star here so this is one thing so now we actually it comes to setting up so in this one actually we are reversing the process a little bit so in the previous example I mentioned that actually do all the frame and build all the GUI and then go back and fill up the procs in this one we actually like did all the procs of them and then now we are going to do the windows so here we set up the widgets basically we call it text widget dot t and then basically we give several other things why scroll command insert background and width width and height so specify all these things and then we pack it and then we are just from the left side and then we just expand it to fill essentially and then we also give some configuration items we configure as tabs 32 64 96 and then configure background is black and then foreground is white so we will come to see like I mean why we need to be shorty and then we also generate a scroll bar and then that is on the right side and then we essentially start doing the key bindings so we do the control l for color of this particular window and then control s is to write the file and save the file essentially and then control x we bind it to exit so if you want to exit this particular window we just type control x and so the exit corresponds to this dot t and now if you run this the demo basically both the file and the top level wm title is te max file name and do the dot t and then now we can bring up the I will talk about the canvas widget but we will probably like see the the actual example in the next lecture okay so canvas widget is another type of widget which is used it is used for drawing primitives and essentially like what this text is doing forwards so it is basically it is just an open-ended rectangle where whatever you can draw and then that drawing is getting captured so here again for this particular widget there are specific commands basically add tag bind create delete d tag find focus we will talk about this also like in greater detail get tags item configure and move and post script we also have like the other widget configuration option which is close enough scroll region x scroll increment and y scrolling so essentially the canvas move can be drawn on so here we can draw a smiley face with all the various things and then basically coloring inside so in order to create this we create a noble basically 3 3 200 fill yellow that is this one essentially and then outline is black which is the curve of the outline and then we also have another one 50 50 60 70 eyes each one we create exactly their location and then we create an arc which is for the smiley faces for mouth that is also done and then we create this to squeaky arcs the tiny arcs which is the next so this way we create this smiley face now each of these drawing primitive is an item in the numeric index so when we create that oval it returns the number for it and so the items can be tagged as in the text widget so you can just say item configure to and then tags yes tag is eyes and then same thing eyes so we tag these two ovals as eyes and then we can also search items within this canvas widget and using this find closest so if you give a find closest and gives it give a coordinate and then basically it returns to which is the left eye left eye and right eye and then items and tags can also have some bindings you can say like I mean dot see bind eyes enter and then you can say being and then outgoing or if you say like if you press leave then it will unlink so all these kind of things so I want to end at this point essentially I think and then next lecture we will take upon the furniture arrangement as a program and how we can design it and how we can execute it using tk so I think that is pretty much it you will summarize as we go along and then thank you once again or listening in thanks