Good morning. We're going to continue talking about mannerism today, and I'd just like to pause to discuss the idea of mannerism. It's a relatively new concept. Throughout the time that mannerism was being practiced, and for, let's say, well into the 20th century, mannerism was simply considered to be part of the Renaissance. In fact, for quite a long time, let's say until the 19th century, late 19th century, Baroque was considered to be part of the Renaissance. People really didn't make distinctions. You could tell the difference between Gothic and classical, but parsing out the difference between different ways of using the classical language was not so easy. So if something like Farnese Palace or the Tempietto counted as really good Renaissance because of the ideality of the form or the perfection of the proportions or the use of ideal geometrical figures like the circle and the square, then everything that didn't do that didn't need a name like mannerism or Baroque.  You would look at something mannerist and you would say, this guy is out of control. You would look at somebody who had really different ambitions, different ideas about what architecture could do, but if you have the wrong frame in which to situate an argument, you won't draw the right conclusions. So really it really wasn't until the 1960s that a man called Arnold Hauser wrote a book called Manorism, and this book began to say, no, these are not examples of a really poorly deployed Renaissance series of objectives. In fact, something really different is going on, and the different stuff that is going on is aimed at really different objectives. This is Frederick Hart, an art historian who wrote one of these definitive 500 page histories of Italian art, and he says, whereas the content of the high Renaissance art is often ideal, Manorist art often chooses subjects that are abnormal or unnatural, and the strange and unexpected aspect of a subject may be emphasized. Manorist interpretations sometimes stress uncontrolled emotion or withdrawal. In high Renaissance art, the narrative will usually be direct, compact, and comprehensible. In Manorist art, it is often elaborate, involved, and obtuse. So while space in high Renaissance will be measured, harmonious, and ideal, Manorist space can be disjointed, spasmodic, and or limited to the foreground plane. High Renaissance compositions are harmonious and integrated, they're often centralized, and they may assume a pyramidal or conical form, for example, ideal centralized churches like Santa Maria della Consolazione. Manorist compositions may be conflicting, and the forms often seek to frame or violate it. While high Renaissance proportions are normative and idealized, Manorist proportions can be uncanonical and usually attenuated. So, Hart is picking up on what Arnold Hauser had noticed that there are these differences. And while the Renaissance named themselves, they thought this idea of rebirth, those who recovered classics and recovered culture after a thousand years of darkness, would be a good name for themselves. The name Manorism was really placed on them, like so many other names. These are two books that are important in thinking about how Manorism operates. The first is from literary criticism called Seven Types of Ambiguity by William Empson. And the second you're probably familiar with, it's really an important 20th century book, Complexity and Contradiction by Robert Venturi. And both of these books make an argument in favor of the complex, in favor of ideas that are not singular but multiple, in favor of things that resonate with a lot of different nuances and layers of meaning. And both suggest that the complexity, the richness, the density of meaning, makes this actually better and more valuable to study than something that is too singular in its sense. And here's Hauser's little book on Manorism. Let's look at a couple of compositions to see how this notion about Manorism plays out. On the left is Raphael, the Madonna of the Fish. Because I just want you to notice that here's a fish. And you don't see that every day in an enthroned Madonna painting. It's the Madonna of the Fish, and of course the fish is a symbol of Christ. So it's not just that this person thought that the Madonna would like to have a fish. But these are both basically the same theme. Here we have Parmigianino, Madonna of the Long Knack, and Raphael, Madonna of the Fish. And the Raphael composition is like other Raphael compositions that we've seen before, like Madonna del Prato. Or pretty much like any Renaissance composition we've seen before. That is to say Raphael does this very nicely with this little perspectival stuff. There's a vanishing point that converges to a center line. Two-dimensionally there is this beautiful triangle that organizes all the figures. Truly couldn't be more balanced. Truly couldn't be more perfect. There's even this kind of nice play of rich saturated colors like red and blue. Then you look at the Parmigianino and you think, well that's a well-named picture. Just as Madonna of the Fish is well-made because there's a fish in the picture. But here Madonna of the Long Knack does not simply have a long neck. She also has a long baby. And she also has pointy feet. I mean it's as though she had been stretched. It's as though all these figures have been attenuated, pulled, stretched, and not only stretched but denied any space into which their actions can be situated. I mean if Raphael is all about making this little proscenium that his holy family can be organized around, this Madonna and her child seem to be not even seated on the throne but pulling forward smashing against the picture plan. And Parmigianino does everything to exaggerate this. For example, look at the little baby down here. Or look at this miniature person. What is the deal with that? We saw this in the Michelangelo Donitondo. Also this radical juxtaposition in scales between people who are close to us and people who are far away. Incredibly deep space is being suggested. Or there is a similar theme to the Donitondo. That this represents the new order and this represents the old order. And the transformation from the age of pagan antiquity to the age of Christianity is happening at such accelerated pace that little pagan guy gets left behind with his broken column that also could represent the overturning of the old order and the institution of a new order. The subject is the same. The handling of paint is the same. But the space is really different and the idea about the figure is really different and you might say the density of meaning is really different. In the Raphael, we have a big symbol of the fish going on. Way to go Raphael. For the rest of it, it's pretty straightforward. It is pretty much all about the Holy Family. But in the Parmigianino, meaning upon meaning upon meaning have been compressed together and it becomes an archaeological task to dig through the meanings to figure out what the painting is about. Here's another example, comparing Leonardo's Last Supper, which is fabulous and a really good example of a high Renaissance sensibility. We looked at this before and we saw how the painting divides in half along the heads of the people dining. We have the lower range of life on earth. We have the upper range of this vault, vault of heaven, or simply evacuated space. Christ's head is in the middle and the perspective lines converge on Christ's head. So everything about the construction of the painting and everything about the space of the painting seems to be establishing the same kind of objectives that Raphael was after. Look over here at the Tintoretto. Tintoretto is a Venetian painter and quite an oddball, really, in his way of painting. I oscillate in my life between loving him and hating him and I've been loving him for the last ten years. The things about him that I hate, you can't see because the slides are too washed out, but he has this sloppy handling of paint. It's not sloppy like, say, Titian is sloppy or Rubens is sloppy where they're totally in control or Rembrandt is sloppy, but he's really sloppy and you get a sense that he's got 25 people working for him and he's got the guy painting the hands and the guy painting the noses and the guy painting the feet and they don't always collaborate so these big workshop paintings, which could be as big as this wall over here, sometimes don't hang together very well, but clearly is in control of the composition and the compositions are really quite amazing. Like if the Leonardo divides in half in a decorous way, enforcing the ideality of geometry and celebrating the square and circle which frame the Christ. Here we have a diagonal, this radical diagonal recession and we have a juxtaposition of quite different worlds. The last supper on one side of the diagonal and people washing dishes with their cat on the other side of the diagonal. It is really stuff that you shouldn't see or something like the last supper. It's been brought down to earth. There's a radical collision between members participating in this painting between the very holy, glowing, sainted figures on the far end and these ordinary figures and you get the same kind of thing here with this dark group of angels swooping down from above. They keep getting weirder. You can look at these manorous things forever because everything that we've been appreciating and learning to love and learning to respect Renaissance paintings seems to be undermined but undermined deliberately. It's clearly not that people like Bronzino here or people like Tintoretto over there were just not good enough to get the Renaissance space down. Clearly they didn't want to get the Renaissance space down. They were after other things. They were after other relationships. So these are two paintings, two allegorical paintings. We have The Birth of Venus by Botticelli that we've looked at before and here is Bronzino's Allegory of Love. A lot of it has to do with how clear the subject is in the Botticelli. It is all about the thing in the center and the thing in the center is Venus. Venus on her little half shell, her shell representing a kind of virgin birth and therefore making clear that the Venus allegorically refers to the virgin. Fabulous. We divide the canvas in half. We situate something in the middle. We carved out a space for all of this action to happen. And look what's happening in the Bronzino. It's like a tangle of people. It's like they've deliberately gone out of their way to twist limbs together to make almost a brocaded knotted fabric pushed up against the picture plane. Plus, not a bit clear what the action is. Not even so clear who owns which arms and legs. Like whose hand is this? Whose butt is this? Whose arm is this? Whose, it's unknowable. And why you need all these people in here is also sort of mysterious and unknowable. And if this is allegory of love, let's say maybe Venus, maybe Cupid, but who else is, who else are these people? Who is this big man over here with a shiny bald head? And if you want to just be horrified and think for a moment who that man might be, look at the Donetondo for a moment. And look at the types of the Donetondo. This Michelangelo painting that we looked at last time. The Donetondo has a elaborate cast of characters. We have the Virgin, we have Joseph, we have the Child, we have ambiguous guy here who oscillates between being St. John, the Devil, and Cupid. And we have a bunch of people here that we pretty much say must represent pagan antiquity because they have these grape leaves in their hair. So if you compare the Bronzino to the Michelangelo, you almost see the same figures getting redeployed in different actions across the canvas. I find this to be so alarming because when we looked at the Donetondo, we said, this is a bizarre pose.  You see the bald man hovering above the Virgin in an embracing protective way here. Here you see the bald man, I don't know, in the act of violating someone or something. And strangest of all is this reinterpretation, let's say, of what the little children do where it's as though the baby crawls down from the arms and begins to molest the woman. So I don't know. I mean, Bronzino is a Florentine. Michelangelo is a Florentine. The Doni are rich people. I don't know if the Donitondo got widely displayed. It could have been something they just had in their house. But it's still kind of alarming. And Bronzino does this all the time. Here's another Bronzino where he's making a kind of a riff on his own painting where he has this strange act of bosom love going on between butt boy or else the other guy and the woman. And here he simply recasts figures that child and other child become interested in each other's bosoms. But what can I say? It's so odd. So that's mannerism. That's mannerist language. And it happens as strangely in architecture as it happens in painting. And a lot of it has to do with the fact that the iconological programs are getting more and more complex. And by iconological, I mean the set of symbols going into it. For some of these buildings, you would get learned cardinals writing two volume iconological program briefs and saying this is what we want to symbolize. To symbolize it, the moon means this. This is the astrological chart. You've got to get that in there. And the artists have this burden of loading up the symbolism and off they go. And of course, if you have to mean a lot of things, a good way to express meaning is to use language. So architecture becomes increasingly linguistic. And by linguistic, I just don't mean the kind of language of architecture that we saw in classicism where there's a syntax. And by syntax, I mean the method of composing the pieces correctly. And by vocabulary, I mean the pieces. For example, column and tablature, pediment, triglyph. These are all parts of a vocabulary that can be put together according to a grammar and a syntax to make a meaningful construction like temple. Rhetorical tropes are figures of speech. You're probably familiar with some figures of speech like metaphors and similes. Like, your eyes are like the moon or other things. Like that. Or things like repetition where you say something again and again. Jesse Jackson has great rhetorical style. It's too bad we don't hear him speak more. But if you would listen to him give speeches, there was one famous one where he said something like, from the poor house to the workhouse to the governor house to the white house. And that's an example of repetition where the argument becomes amplified by pushing it forward and each time shifting the terms a little bit.  I was just looking at a list of rhetorical tropes and all of them seemed appropriate. I was putting some of them down and it just seemed like, why bother? They all seem appropriate. Because there is some tweaking of the language toward rhetorical exaggeration of meaning that happens again and again. There was that going on in Michelangelo's Laurentian Library at San Lorenzo where there was this juxtaposition between tall and long or between incredibly crowded and incredibly evacuated. And even some of these rhetorical tropes like repetition, we see the same figure again or the denial of one condition with another condition in the way Michelangelo situated the columns and the walls in the same plane. So as to suggest the sameness of both or the impossibility of either to do the task at hand. When Michelangelo does the portapia in Rome, this is really quite late in Michelangelo's work. It's around 1560. In many ways his task is simple. Build a gate to the fortified wall of Rome. And there are certainly precedents that abound for something like that. This is just one of the many arches in the Roman Forum, the Arch of Settemus Severus. So if Michelangelo weren't such a screwy guy he might have done something like this. But of course Michelangelo wouldn't dream of doing something like that when he could do something like this. And what is something like this? This is a gate. This is not so different from the Arch of Settemus Severus except that instead of being singular and unified and focused, it seems to be multiple and exaggerated. It seems to present itself not so much as a thing but as a billboard or a sign of a thing. It's probably very effective, right? You're walking down the road this is the eastern gate to Rome you want to come into Rome and from long away you see this because it's like a tower it's so high up. But it's also making a gate and then making a gate again. It's this doubling, it's this repetition. It's the Jesse Jackson from the workhouse to the governor house to the White House going on here and the same thing gets reiterated and reiterated and reiterated. There's also a weird attitude toward architectural language. We said that good syntax puts the pieces of a language together in a clear and readable way. The cat is black. Not black is cat the. One of them makes a sentence and the other one is just a bunch of words. So if syntax and architecture would say pediment and tablature columns all worked out that way what is Michelangelo doing down here? He's giving us the pieces we want to have but he's not letting them cohere. He's also, he's not simply giving us the pieces that we want to have but he's doubling or quadrupling the pieces that we want to have. Like let's look at this central portal over here. What is it that makes the opening? We've talked about different things that can make openings. We've said well you could have a lintel you could have a pediment. In the case of Michelangelo we have all of them. We have a lintel, we have an arch, we have another arch, we have another arch we have a pediment, we have another pediment. It is this like super position of multiple iterations of the same figure all of which transform and all of which are in some way critical of the other figures that are going on there.  Crazy and things transform. They start off as one thing and they become another thing. Porta Pia is Michelangelo at his crazies. This is Michelangelo when he's carving that Rondanini Pietà, the one that looked like it was Gothic. He had hacked away so much material from it. So this is him really running with the most extreme presentation of what architecture can do. Like, look what's happening over here. What are these little ears doing on the side? In a sense, it looks like they want to be brackets or they want to be ionic column capitals that have folded down in the wrong direction and the same kind of thing happens here. Michelangelo loves the ear. He loves taking something that seems to be about a square and making it specific, flaring it out to make it kind of look like a column capital, slipping it down to begin to suggest that in spite of the ideality of the square, things can't hold. And what's this? What's this piece over here? Well, it's round. It must be perfect. We love those circles. We can't get enough of them. But is this just a droopy column that's like a towel hanging over a circle? Has he just begun to play around with the idea of architectural language to suggest ways that it could work perfect, plaster, fluted, great, and ways that it can't work and putting them together in such radical juxtaposition you have no idea what's going on. Or look at this. Keystone. I couldn't be happier. It's exactly where I want it. It's right in the middle of whatever this thing is. If it were in the middle of an arch kind of is this octagonal arch, great. Of course, there's a super fancy of Keystone. From Keystone to Littlehead, to Keystone on top of Littlehead, to Big Plack, all of which seem to serve as Keystone.  What do we get on the column capital or the plaster capital? We get a baby Keystone. He's out of control. But he's Michelangelo. There's no stopping him. So look at that. Baby Keystone. Crazy. Sadly, if you walk around to the back of the Porta Pia, you don't see much because it is an 18th century façade. But if you look at any piece of language on this thing, it seems to take your expectations and subvert them. Here, for example, I am at column capitals. Delightful, but just like frosting on a cupcake. Not like anything that is working syntactically, like a column capital is supposed to work. Best thing ever Michelangelo. In a more low key way, you could say that the Palazzo Massimo that we looked at before is playing a lot of the same kinds of games. For example, on the front, it proposes itself as an ideal Renaissance Palazzo and yet it bends. It distorts its ideality to conform to the bend of the street. It's also incredibly ambiguous about how many stories are here. You don't get to read it very clearly.  And when you get to the interior of the Palazzo Massimo, the space of the system becomes clarified. Another kind of device that you see frequently in Manorist architecture kind of reminds me of that Bronzino allegory of love. Not in its creepy subject matter, but in the idea of density. In the idea of accretion of tangled ornament or pattern making on a surface. And this is the Palazzo Spada in Rome. Not really important in and of itself, but there's a very important piece of Baroque architecture stuck inside of it. The Galeria Spada by Boromini that we'll look at in a couple of days probably. We're going fast. But you can see that this whole surface is encrusted with a kind of ornamental pattern. Manorism really finds its best subject matter not in the Palazzo, not in urban architecture, but in garden architecture. And I think that's because garden architecture at the very point of departure suggests contrast, suggests the putting together of two possibly irreconcilable conditions. Architecture with geometry, with culture with the shaping of space and nature with its fecundity and its growth and its uncontrollable vigor. And how did these two things come together? What wins? Is it nature? Is it culture? And Bramante's Belvedere is really the first example of an effort to make some kind of garden space. And we looked at it before and we suggested that in many ways it picks up from Roman precedence things like the framed space like a forum but also things like verbal descriptions of gardens that Pliny or other classical figures would have had even more explicitly things like the temple of Fortuna Primigenia, republican Roman temple on the outskirts of Rome. And some of the themes that are going on in the Belvedere are themes that become very dear to the hearts of further garden makers. This is the text against which all subsequent gardens refer when they make their little distortions. So certainly one thing that's going on is the idea that architecture is a frame. Architecture becomes a frame that repositions nature and begins to allow nature to operate in very specific ways. The idea of the ground plane is also really important and as you move from low ground to high ground to higher ground you're either closer to the earth or you're closer to heaven and therefore your condition in the world changes. You either become immersed in the land or you become liberated into the sky or some gardens work in the opposite direction. You start out in the city and you find yourself in the dark forest lost and confused. Another thing that's going on in the Belvedere that you see again and again in the subsequent Manorist gardens is the instability of the center. The idea that a garden is supposed to be an ideal four-square paradise garden. Why can't it just be that? And it's not. There is a kind of suggestion of a center and then a displacement of the center. A suggestion of the center and then a displacement of the center. So it's a game of constantly repositioning yourself and re-centering yourself along the line as you move through the space. You finally come to this area right over here where the center is incredibly unstable. It's this Bramante Stair which moves you up, puts you on a center and then switches from concave to convex and you find yourself moving up in a very different way. In many ways, it's the first attempt to take stock of the lessons of the Belvedere courtyard and it does it really in a kind of similar way. If Belvedere had this transformation along a line from space up to space, up to space bracketing it with architectural constructs the papal apartments and the Belvedere Villa, then Villa Madama proposes to do the same kind of thing but using the architecture as a middle point that begins to transform your experience. The architecture becomes a kind of filter between different realms. Here we are in a bounded, somewhat urban courtyard, like a little form or like a little quartile. We pop through in this rotunda piece and then suddenly we find ourselves out in a garden, in a garden that proposes itself kind of as an ideal four-square paradise garden but one that's been attenuated, one that's moving on out and the proportions of the urban or urban courtyard and the landscape garden are similar. We also notice that Raphael died before the Villa Madama was completed leaving it in this provocative state of incompletion. And when I say provocative state of incompletion I mean, if this reconstruction represents Raphael's idea of a balanced thing, it's a renaissance thing. It's got the center line it's got the dividing line things organized into a perfect triangle it could be a Raphael Madonna but in this configuration, it's pulling apart. You have the hemicycle going one way, you have the loge going the other way and there's almost nothing in between them. This aero perspective I think shows you the power of how this thing is locked into its landscape. With these like a truck pool I don't know, what do we have tug of war where the axis coming out of the hemicycle moves in one direction the axis coming out of the garden moves in the other direction and the building just tugs so much so that the landscape fractures and you get this big sectional change at the point where the Villa engages this wall moving you down flattening flattening the space in a fairly radical way. We also notice that Raphael is using this strange material in the Villa Madama, this pinkish tufa to become explicit about the fact that this is a country house instead of an urban house. You might say this is a little bit more linguistic than it needs to be also he's assigning meaning to material. He's assigning meaning to rustication but he's even assigning meaning to the kind of stone he's using. Painting the Vatican Stanze the School of Athens the Fire in the Borgo the series of lunette paintings that Raphael managed there was a whole workshop of people. Peruppsi was one of the people working on that and also Giulio Romano was another painter who was good friends with Raphael and he was working on that too. When we spoke last time about the decorative program in the Villa Madama we said that this patterned we call it grotesque meaning as if in a grotto that little swirly patterned stuff that Raphael used in the loggia of the Villa Madama came from a Roman villa that he and Giulio Romano fell into when they were off walking around the Roman Forum and sketching so they were good friends but unfortunately Giulio Romano had to leave Rome and the reason Giulio Romano had to leave Rome is that it was the seat of the papacy and Giulio Romano was a pornographer. You can find the book at the Fine Arts Library they keep it behind the desk and so the thing to do is to ask for a whole bunch of Renaissance books and to stick this one in there so they don't think you're just looking at their dirty pictures if you want to write it down it's called I-M-O-D-I and it's full of stuff like this I go very quickly through Giulio Romano's pornography because he was thrown out of Rome for it so he went north he went up to the town of Mantua where there was a bachelor Duke, Mr. Gonzaga and Mr. Gonzaga said yeah you can come here this would be fine welcome to my court this is a painting of Giulio Romano by the great Venetian painter Titian who was also his friends and it seems like in the north pornography was fine this is a famous painting by Titian called Venus of Urbino this was done for the court of Urbino it's a beautiful painting art historians love it you look at this thing and you say this really exemplifies the Renaissance nude but this is what Mark Twain thought when he wrote Tramp Abroad and this is a great book if you ever want to travel in Europe you should just bring your little Tramp Abroad with you because Mark Twain is funny and he says you enter the Uffizi and proceed to that most visited little gallery that exists in the world the Tribune and there against the wall without obstructing wrap or leaf you may look your fill upon the foulest, the vilest the obscenest picture the world possesses Titian's Venus it isn't that she's naked and stretched out on a bed oh no, it is the attitude of one of her arms and hand if I ventured to describe that attitude there would be a fine howl but there the Venus lies out for anybody to gloat over that wants to and there she has a right to be for she is a work of art and art has its privileges et cetera, so funny if you've been told that you have to put the smuttiness out of your mind when you look at art I give you license to look at the Venus of Rubino in a new way so Giulio Romano gets a commission from the Duke of Mantua to build a pleasure palace it's one of these country houses that is three miles away from town it's never very far away and Mantua is situated almost like on a peninsula by the lake in three directions there is a little island in a spit of water here with an existing sort of farmhouse and Giulio's task is to refit the farmhouse to redecorate the farmhouse in a modern way so you can see that there is this in its original condition not anymore bridges going to the plot of land onto which the Palazzo Te or the Palazzo del Te is situated and Te just means tea so it's the tea palace and Giulio would go to have tea so this is the original building and Giulio's first task his first commission is to do a series of paintings because Giulio is a painter he primarily comes to architecture through painting he does a series of rooms and these are all allegorical themes the giants, the gods and so forth after having done that he's given the commission to expand the palace and to redecorate the palace so it's a funny commission this farmhouse, the windows aren't exactly where you want them to be but if you're doing wall paintings you don't exactly care where the windows are then when he gets the task of refurbishing the facades he has to make sense out of these oddly placed windows which by this point he can't move because he's already done the paintings on the interior this is one of the large rooms with this banquet of the gods that Giulio has there great stuff and this is a room that I think is really one of the most interesting it's the Hall of Giants and in the Hall of Giants Giulio is, I think playing with this idea of the corner in Renaissance architecture and we've spoken at length about how difficult it is to do a good corner the column never quite wants to be in the corner it's always a difficult situation this is all wall painting, this is not architecture at all but one of the themes is that these giants are pulling the column out of the corner and the whole building is collapsing because this impossible column has been pulled away and the ceiling falls down revealing this pantheon of gods up above there's another room in the Palazzo del Te called the Hall of Horses you can kind of see how it works spatially here it's kind of blank down below and then up above there are all these kind of wonderful horse portraits because Gonzaga was a great lover of horses and in my mind although not in the mind of Italian friends that I've run this past but in my mind, and this is actually true I'm not making this up the word cavalletto means window jam or door jam or frame cavallo means horse ecto means little so cavalletto would mean little horse but cavalletto would also mean window frame he's substituting a little horse for a little window frame here and I think this is so brilliant and I've run this past Italian friends and they've told me no, we don't say it like that but if it were true it would be such an interesting way of really using language to drive the argument and I would say it is true not that my Italian is better than real Italian's Italian but it's the word the word is the same cavalletto means frame and cavalletto means little horse so why not put up a little horse as a window frame so the painting is great let's look at the palace Giulio expands this existing building he begins to put a series of support buildings here a grotto here and this hemicycle at the end and what this thing does is it catches the space but lets your view continue beyond the space so you get this kind of double reading and the double reading is containment and extension at the same time in fact there are a number of spaces that you encounter here it's really beautifully sequenced in terms of the different moments you get you have these various vestibules you have a courtyard completely bounded and contained by architecture you pop out into a loggia where your view is focused toward the garden a loggia is a covered porch L-O-G-G-I-A here we see a little bridge and the little bridge is taking us across things called the fish ponds and then we walk across this green sword this garden and we find things at the perimeter so what's the language of the palazzo del te and you can see from this front elevation that it's a really varied rhythm and part of the reason the rhythm is so varied is that Giulio has to accommodate the strange window placings so instead of simply having a nice let's say Bremontian A-A-A or Bruno Leskin A-A-A same rhythm he's already oscillating the rhythm so that there's a kind of widening at the entry there's a every bay is a different dimension and he negotiates the difference in the bay sizes by playing with where these pilasters go here they're kind of far apart here they're close together and so there's kind of cleverness going on the wall is incredibly plastic he's using different layers within the wall to get these different differences in the geometry to fall into place he's also using rustication by rustication what do I mean Lisa exactly the roughening of the materials the deliberate use of rough stone to show us difference between these different layers you can know that this layer is different from this layer because the level of rustication is quite different in the Michelotto Palazzo Medici in Florence we saw rustication being used this layer is one thing, this layer is one thing this layer is one thing in a horizontal sense here it's a vertical sense, kind of archeological sense you peel away one layer and you find another layer you pop through the vestibule and you see your view lined up you get this skewer, this visual skewer through all the spaces, right like this and the vestibule itself is a kind of strange thing it's a heavily rusticated vestibule and the columns in the vestibule look like they're made out of Tutsi rolls they're really really rough and they're really kind of spongy that is to say they don't simply have endosys but they get really skinny at the top and skinny at the bottom so they bulge out as though there's some kind of primitive thing walk through what do you see? well, now things are looking pretty nice this is the courtyard that you're in this little courtyard over here it's got this beautiful Doric order colossal Doric order surrounding it and it's got a series of wonderful little triglyphs over here and these wonderful little triglyphs that we see part of the Doric freeze would make you think that finally Giulio has arraigned it and finally Giulio is becoming a little more canonical but if you look over here we begin to see that he's doing funny things with the triglyphs but if you look right over here you can see things are slipping down if the triglyph happens to be above a column it's okay but for these intermediate triglyphs they are in crisis and frequently Giulio will displace them Giulio will just slip them down to begin to say architecture is hard there's no easy way to balance the tectonic forces in a building things fall apart in fact it's almost as though that rupture set forth by pulling the column down on the painted wall of his building sets in action this chain reaction of dismantlement that configures the whole building this is still the same courtyard these are different stages of renovation they tend to paint everything white and so this is what it used to look like before they painted it a very pastel color but look at how the keystone gets used we saw Michelangelo layer and keystone upon keystone upon keystone and shrinking them down and sticking them on plaster capitals and here too the keystone is not really being used to suggest this is what's holding things together but it almost looks like this is what's splitting things apart it's too big and it's so rusticated it looks like a thing of the earth so it's popping up and splitting things apart and as all of this everything goes on in terms of the entablature and the keystone you also notice that there's another layer that's being revealed this really smooth layer but this smooth layer undulates it's kind of wavy and to me it looks like he's cladding jello with stone facing and the stuff underneath this stone facing is wobbling like crazy and occasionally when he cuts in these blind windows you can see the wobble you can see this kind of protein matter taking form and becoming something and the thing that it becomes is antithetical to the cultural constraints and geometrical constraints that architecture wants to put on it fabulous so we popped through the loja and we look over here at this little hemicycle down there and this is from inside the garden looking back at the exterior garden facade of the building and that too is pretty odd and you look at this thing and you see how it transforms before your very eyes between something that is essentially a columnar structure something that is essentially a wall structure constantly doubling or switching from pier to column or inserting blind window into pier so that local symmetries obtain at every moment but in terms of the whole thing it's really unstable and in fact he uses the reflecting pond we saw in the plan the bridge that goes across the reflecting pond to do a couple of things in one sense it's a kind of recreation of the journey across the bridge to get to the island that Palazzo Del Te is situated on and in another level it creates a stability and it creates a symmetry across the horizontal axis in the real world symmetry and balance are denied to you but in reflection in the virtual world you can have that kind of stability clever let's look at another great mannerist garden and this is the Villa Lante by Viñola and Viñola is an interesting guy because he wrote a treatise on architecture which is really dry really cononic really formulaic these are the orders as put forward by Viñola ugh hate them and the reason I hate them is that there's none of this madcap stuff that we saw Julio going on with and by madcap stuff I mean playing with rustication on a column or playing with the proportions of the column to emphasize the meaning instead they're just there they are and it's funny that this guy Viñola was able to write this treatise because his architecture is inspired and it's inspired because of its engagement with the land and its ability to read nature as a force against which architecture is always measuring itself here we have the Villa Giulia the Villa Giulia is situated to the north of Rome this is the Via Flaminia one of the big old Roman roads here's the Tiber River and here's the Villa Giulia so this would have been considered a country house even though it is in fact a 3 minute bus ride from the center of Rome right now but it's not completely a country house it's maybe let's say straddling the line between country and city and so how does the architect make that manifest well this seems to be about an architectural edge and as we move in this direction there seems to be a dissolving of the architectural edge so maybe here too architecture becomes a filter between two different conditions architectural edge, the arrival and the dismantling of the architectural edge here's a section and the section I think is pretty interesting because it shows you that Viñola is not simply performing this operation of dissolving the coherence of the palace in plan but he's also doing it in section that as you move out this center gets established through carving down so many of the same games that we saw at the Belvedere the idea of ground playing ground playing being activated to create different spaces within the scheme but also to tweak the meaning of the spaces of the scheme architecture as frame you look at this thing it's got this big old frame around it you might even say that Viñola is doing seems like he's unplugging the villa that you would kind of imagine that this piece which is over here this sunken grotto could slide in and complete the villa but instead it's been pulled apart it's almost as though he's looking at the incomplete state of something like the Villa Madama by Raphael this hemicycle locked onto a loja and appreciating the tensions that are there and finding a way to actually make that the theme of his architecture and not just this residual condition left over by accident here's what it looks like so it really seems kind of like a decorous palazzo right oh we have a very nice center it's very symmetrical let's go in and just where you expect to find a courtyard you find this evacuation of courtyard and the wall that you would expect to bound the space has been pulled out there are a series of thresholds that you cross as you move through the Villa Giulia and each one reveals a different condition to you you also get this variation on a theme as you move through the space we get this kind of tripartite organization of arch with little arches on the front facade almost like a triumphal arch and if we look at the facade of the hemicycle you get something that also kind of looks like a triumphal arch and this triumphal arch motif repeats itself in varied forms as we move along the line here's what we see on the inside of the hemicycle it is elaborately painted to look like you're inside some kind of trellis some kind of garden that the garden has invaded the architecture we're moving on down the line we're seeing the condition of the triumphal arch become increasingly dematerialized as we approach it from the palazzo side let's say from the building side you see something like this which is essentially a wall that's been perforated and as you move farther in there's something that's simply a columnar triumphal arch this idea of the triumphal arch this figure of the triumphal arch doesn't simply happen in elevation but the same figure that we see in elevation also happens in plan so there's a kind of flipping in preposterous ways when we get to the grotto here's the grotto we have the same kind of triumphal arch motif now sunk down into that deep sunken space and the language has really changed even more it's not simply columnar but the columns have become animated they've become these half human half column things called corms, h-e-r-m and where are they situated they're situated in water this is a grotto it's really spectacular because as you move lower and lower the climate actually changes from hot getting beat up by the sun Rome to something where you're being washed with water, you're in the shade and the natural cooling properties of the earth change so the making of the grotto provides a real amenity for the garden this little microclimate within the whole of the system but it also begins to organize a center against which these transformations can be read we're pulling things apart we get ourselves our little grotto the grotto carves down and then when we finally come out through another triumphal arch construct we find ourselves the ideal paradise garden the theme of the constant displacement of center that we saw in the Belvedere is also going on here too the theme of the ground plane and now a new theme the theme of water, how water can begin to participate in the argument so we will talk about gardens again next time


Hi guys, I'm Brian Sakawa. You're watching He Spoke Style and today at Last Minute Holiday Gift Guide. Before we start, links to everything I mentioned in this video will be down below in the description. So jumping right in with the first gift idea and those are festive socks.   I really like the options that they have at Brooks Brothers. There is a pair with snowmen and Christmas trees that I like in both red and like a dark green. It's kind of subtle but festive at the same time. There is also a pair with reindeer that I also like and fair isle which is a great winter pattern. Next up books. Now I just did a video on 15 must have men's style books which is linked to right up there in the corner. Be sure to check that out if you haven't already. I will mention a handful right here though that I think would make absolutely fantastic gifts. First, Dressing the Man by Alan Flusser. You know, if a guy is going to have just one book on men's style, this is the book to have. Next, a new book by Jamie Ferguson. It's called This Guy. It's a collection of photographs that he's taken of various people over the past few years and not only are they fantastic photographs but the book is a great source of style inspiration. Next, another book that just came out by Alan Flusser which is about Ralph Lauren called Ralph Lauren in his own fashion. Walks you through the entire 50 year career of arguably one of the most influential American fashion designers and cultural forces. Finally, a different kind of book, the Waldorf Astoria bar book. Tons of cocktail books out there these days but I love this one because it's coming from a really old school institution. The recipes are classic. They're simple and they're some of my favorite in any of the cocktail books that I've ever owned. Next, we have a Brown Leather Notebook by La Compagnie du Craft. This is one that we carry in the HSS shop. It's my favorite notebook like a lot of high quality leather goods. The cover gets better with age. Also, one of the best things about this notebook is that it's refillable. You can get it with either brown paper or white paper. One of the most popular items we have in the shop. If you're interested at all, I would definitely recommend placing an order sooner rather than later. It's honestly been difficult to keep in stock. Next up is a custom coat hook from Dapper Woodworks. This retails for $30. You can choose the type of wood. There are 11 different options and you can also choose from seven different types of hardware to complement whatever else you have in your home. Justin from Dapper Woodworks is a super nice guy and makes some really, really great stuff. In addition to the coat hook, a couple other products of his that I really love and have myself are the tie rack with a shelf, as well as the pocket square organizer, which I also have with a shelf. Next, we have the Diptych Fou De Bois candle. Let me just read you the description of it from their website because I think it really sort of evokes the way it smells. So here we go. Winter time. In the hearth of Fire Roars, throwing out its light and casting shadows. The wood crackles as flames slowly consume the logs, releasing their dense, smoky scent. This candle really smells like that. It smells like burnt wood in an open fireplace. It's really a great scent for your man room this time of year. $65 is a lot for a candle. This is a luxury brand, but you know, as a gift, I think it's a really nice option. Moving on to a subscription to The Rake magazine. Now The Rake styles itself as the modern voice of classical elegance. It is a very aspirational look at men's style, but one of the most beautifully produced and beautifully written men's style and lifestyle magazines out there. One year subscription is $39. Two years is $65. Either option is an absolute steal for the quality of content that you are getting. Next is a really stylish and elegant whiskey to canter set. This is actually the one that we keep on the bar cart in the studio. It's not that expensive at all. It's $65. Now with it, you get a decanter along with four glasses. With the link we have down there in the description, you are able to choose between a square pattern on the glass or one that's more of a diamond cut, whatever suits the style of the person you're giving it to. And bonus is that it comes in a really nice gift ready box. Next up is a staple item that every guy needs to have, which is a white silk pocket square. This is not any white silk pocket square though. This is one from Charvet. Again, I think gift giving time is a great opportunity to give someone something that they might not normally buy for themselves. And to give them a truly beautiful example of a very simple item that they will get a lot of use out of. There's nothing like a Charvet pocket square. The silk is exquisite. And this is really like that small piece of everyday luxury that can really make someone feel special all the time. All right. Up next is another item that definitely has that classic old school everyday luxury vibe to it. And that is the Musco Real Classic Sent Aftershave. I love to give gifts that people will actually use, especially if it's on a daily basis. I feel like if you can add something a little special to their daily lives, I think that's a really nice gesture. And if you know that someone shaves everyday, this Aftershave is a really great choice. Next is this tartan plaid tie, which is from a collaboration we did with Seaward and Stern from London when we first launched the HSS shop. It's the perfect holiday tie, great colors. It's 100% woven silk, though it feels a little bit more like wool. It's not too thick. It knots very well and always gets lots of compliments. If you're going to a holiday party, it's always nice to bring a gift. And why not have it be something that everyone can enjoy, like a nice bottle of scotch? For this, I'm going to recommend two of my all-time favorites. We've got them on the bar cart here in the studio. And those are Ardbeg Corey Vrecken and Lagavulin 16, both very classic single malts, huge flavor, lots of smoke, very peaty. A scotch like this is kind of like flattery, you know? A little goes a long way. Next is kind of a complimentary item to the scotch. And that is a pewter flask by the English Pewter Company. This is actually the item that kind of sparked the idea for the HSS shop. And in a world of four, six, and eight ounce flasks, we wanted to have something that we said could hold the perfect pour that would be discreet and also kind of classically elegant at the same time. So it's a two ounce flask. It fits perfectly in the hand in a briefcase. It's meant to be, like I said, discreet and elegant in a material pewter. That is one of the nicest you can have for a flask. Next, we have a little bit of everyday practical luxury. And at around $86, I would say reasonably affordable. And that is this dresser valet box. It is by Hounds Bay available on Amazon. It's an organizer with lots of different trays, catch all tray, a place for your phone, an accessory drawer for watches, cuff links, tie bars. I actually have this myself. It's up in my closet. And it's really, really nice. Again, another gift that's practical and that someone would use actually every single day. Next up are pajamas.  And honestly, nothing feels better than lounging around the house and relaxing in a nice pair of pajamas. I'm including two options here. The first is a set of flannel pajamas by Uniqlo, an insane price at just under $20 for the quality that you get. And then for more of a luxury option, I'm going to recommend a set from Derrick Rose of London. This brush cotton set will run you about $260. Finally, finishing off with one last luxury item. And that is a pair of Stubbs and Wooten velvet slippers. They have lots of different options. Some of them are very cheeky. Some are more conservative. But what I love about Stubbs and Wooten is that they have so many options that you can literally find something that matches the personality of anyone that you are giving them as a gift to a few of my favorites are the scotch slippers, the end, and of course, because of Coco, the German shepherds.  So that wraps it up. No pun intended. 15 last minute stylish gift ideas. Reminder that links to everything are down below in the description. Leave a comment, thumbs up, and don't forget to subscribe to the channel. That's all for now. Until next time, thanks for watching. Stay tailored and have a happy holiday season.


Hi, my name is Yalan, and today I'm going to talk about the texture classification by audio-tactile companies. Humans can easily recognize and classify textures by touching the surface. This process goes beyond the limits of region and relates on both auditory and tactile feedback and their interplay. So a variety of multimodal features has been explored for texture classification, but most work neglect the countries between auditory and tactile feedback without considering the same source from the interaction. In addition, two scan temperatures, scan speed, and applied force largely affect the multimodal feedback, the classification algorithm to raise home, which has not been ten-coded in most study. In this work, basal signals from unconstrained to surface interactions will present a large-scale texture classification method by analyzing audio-tactile cross-modal congruence in the frequency domain. First, we synchronize the recorded sound and vibration by canonical correlation analysis to ensure the temporary congruence. The synchronized sound and vibration are decomposed into spectrograms of power expansion density with the same number of frequency bands as in time frequency representation. Based on that, we track the frequency components from the two modalities at the current time step and compare them in the same band using current distance, resulting in one D mapping. However, the information covered by this one D spectral mapping is still limited. Instead, at the current time step, we compare the frequency components between sound and vibration across the frequency bands to realize a two-dimensional representation about the compass named inter-band spectral mapping. This 2D representation is average over all time steps to compensate for scan time parameter, and it conveys the interplay of touch-produced sound and vibration in the frequency domain. Its surface force show large variance between textures but high similarity within the same category. Revealing the 2D structure of the inter-band spectral mapping, we consider it as an image and enhance the quality band size measures. We first conduct a single-reddit composition to obtain the dominant agon images from the training samples. We project that input sample onto the agon space formed by the previous agon images and define that feature for that sample named projected spectrum mapping, which is used in our classification. For the evaluation, we conduct a classification test for 6D net texture from the LMT texture database. Compared to a variety of multimodal features from previous work, we achieved a higher 79% and 85% accuracy for the PSM feature and PSM with image features. Also, we achieved an overall 89% accuracy by categories. Moreover, we performed a participant-specific cross-paralysis with 10 votes to show the features robustly against different interaction styles. For more information, please check out our paper. Thank you.


So to expand on the idea of operators from the last video, we start to look at some of the more advanced operators. For example, the one on the screen right now is what is known as the augmented assignment operator. Again, in the last video, I said that the equal sign, this guy right here, this is also known as my assignment operator because I can put any memory address, memory address, or also known as a variable, on this side and any expression that I want on the right side and I've now assigned value to the left side. Well, what we can do with this is again, we you tack on that magical word there, augmented. So what we're actually just saying here is that we've changed how we're going to do that assignment operator. Let's actually take a look. Say for example, x equals 5. If I kept that as is, but I wanted to then run a total. I was keeping count. I was a, I want to add to that 5. Well, it would be very annoying if I had to do this each time and then I had to keep count of how many times that 1 was a 1 and have to make that 2 now. Honestly, the logic behind that gets a little kind of confusing. So what happens is again, that left to right association comes into play. If we look again, memory address, that's the left side of the equation. So that would be my x. Well, what I can do is I can throw in something. Like I said, if I wanted to increment that word, we'll see a little bit later, increment 5 by 1 make it go to 6. What I could say is something like this x plus 1. Again, the left side of our code right now is saying the memory address, the where. The right side is the expression, the evaluation. It's the what. So what will happen is this first x, this is going to refer back to my memory. It's going to refer back to some block in my memory stick. So we'll just say it right here. And then over here, this what side, the right side, this is going to look and evaluate what x happened, what x is before doing the mathematical equation. So it'll actually look at this and go, well, what is x right now? x is 5, so it'll become 5 plus 1. That 5 plus 1 gets evaluated, becomes 6, and then that 6 gets replaced right here. Well, we can shortcut this if you think about it. We don't have to always do x equal x plus 1. What we can do is we can turn that into something like x plus equal 1 using these augmented assignment operators. They are roughly the exact, they are basically the exact same thing. They just have shorthanded it so I don't have to write my variable twice. And in this case, it doesn't seem like there's too big of a deal, but when we start getting into very massive variable names, this can start to become a little bit of a problem. Say, for example, my variable name, instead of it being x, it was dist between two points. That's how much I had to write there. That's a very long variable name. Again, I don't want to have to write it twice because as you can see, that took a little bit of time. There was a little bit of a pause going on there, and if I did, it would just take too much time. As you can see, you can already be skipping this video or part of the video just so I can do plus 1. Or I can go the opposite route. I can do it one more time. I know. I know. Between two points and using the augmented assignment operator plus equal 1. Shortcuts how much I actually have to type. So another thing that we can do is, again, we're lazy people. If I'm just going to be doing a plus equals 1, what I can actually design are something known as my increment and decrement operators. And these simply are adding plus pluses or minus minuses to my variable. So in this example here, we say int i equals 3 and j equals 5. This is actually a little shorthand for if you have multiple variables of the same data type. So what I've done is I've made these two variables, and what happens is if I do plus plus before my variable, what happens is something that is a pre increment. Before that expression gets evaluated, before that even happens, automatically bump it up by 1. So if we were to look at that equation again, if we were to look at x equals x plus 1. Remember, int x will say equals 5. Now, this by itself would evaluate out to 6. However, if I were to tack on plus pluses right in front of that x, and I'll just for good safety measure do something like this, put it in parentheses. What happens is before the expression gets evaluated, that plus plus to x, x gets incremented by 1 immediately. So suddenly it goes from just being a 5, it goes 6 plus 1. So suddenly x becomes a 7. Now, this is actually considered very bad, very bad code, very bad form. You should always try and make only one expression happen per line. So you would not want to do something like this because it's a little harder to read. Because now two things are happening, inexperienced programmers don't really realize which one happens first, they might miss a step, and so all of a sudden it becomes a little bit more confusing. Now just to at least kind of keep going down the line, if I add the plus plus to the opposite end of it, what will happen is the expression will occur and then that will be incremented. Isn't that bad? That's one of the things we'll see later on when we review loops. Then we get into decrementing, and the same options come into play. A minus minus before the variable will happen before the expression. A minus minus after the variable happens after the expression.


Oh and a great 3-1 victory over Peterborough today, what did you think of the game? Well deserved as a result I think, I think we worked hard and stayed in it for the majority of the game and then we managed to get the golds at Royal Times and it's a nice feeling. And how important is it to get those 3 points at such a crucial stage of the season? Yeah it's massive obviously, it gives us a lot of confidence now going into our tough fixture on Tuesday and it's not a point field to play for so we're still definitely have a good chance of pulling ourselves out of this and as I said we're confident now and we're going to choose to get 3 points again. And we grew out of three very good goals this afternoon, yourself getting one as well. What does it feel like to always get on the score sheet and the manner that you did? Yeah it was great obviously, Bali done tremendous, holding it up for me and he laid it off nice but I wouldn't get on the score board if I didn't want to fail and it was a good time to score a second I think. I felt as if you want to pull away then. But unfortunately with the penalty decision I don't think it was a penalty if you took back it in. It should have been a 3-0 result but all positive today yeah. And it was Gary Boyer's first match in charge of the Bantams. What did you think of the reception he got and how do you think you guys responded to him being in the dugout today? Yeah brilliant, the whole week's been brilliant even from Dario, Ben the staff, everyone that's been here previous. And then obviously he came in and just put his little focuses on things for us and kind of gave us some guidance on how to win the game today and the team plan worked and it's good and hopefully we can go again Tuesday and I'm sure he'll give us some more guidance and we'll work hard from him and try to get them 3 points again. And the fans are right behind the team from the right from the beginning. How did you think they impacted the performance today? Yeah they were brilliant, obviously I think when they were saying how hard we were working to stay in the game for periods when they had periods of possession they stayed with us and then obviously when we got their goals they got very lively and they helped us go again and again to get the other 2 goals and it was a wonderful atmosphere. And what is it like to play in that sort of atmosphere here at Valley Parade? Yeah it's brilliant, it's what I saw in there, it's a massive club, it's in a false position for me and hopefully this is the start of the turnaround now and we can try and achieve something. And looking on Tuesday, what sort of game are you expecting and what sort of confidence will I have going into that game? Yeah it's going to be tough, one of our toughest fixtures of the year so it'll be tough but we'll work hard now tomorrow Monday, get our things right and we'll go into it obviously at the back of a good result and hopefully we can get something.


That was amazing. Right guys, I hope you agree with me. The hashtag is RockTour254. The hashtag also is RockTour10s1 because we are turning one at the whole of this month. And we appreciate all the support you've been giving us throughout the year because we're turning one year. And it's been amazing. It's been a roller coaster. It's been awesome. And to do that, we have a cake today. But we're going to have a cake each and every Saturday. As every Saturday, take me to RockTour. And if you want to be part of the show, you can just hit us up at RockTour254, that's on Facebook, and Twitter. DM us if you want. You can write on our TL. We'll most definitely love to have you on the show. Now, you can find me at Filingen. My name is Filingen. You can find me at P-H-Y-L-I-N-E-J-E-N. And I told you, please stop sending me friend requests on my account. It's almost full. I have a page, go like that one because I think I have over 1,000 friend requests and I have 4,000 plus friends or FB. So my page is almost full. So if I add Itesha. So what you do, just go like my page. It has over 500 likes. So you can go like that one as well. And like the RockTours page as well. That is at RockTour254, that's on Facebook, and Twitter. And HewSkills has a page as well. It's at HewSkills, Kilomali, Facebook, Twitter. And on Instagram, HewSkills won as well. Talk to him. Yes. And as we do that, Bakita decided to report us. See, I remember a cake model. And a cake and you didn't call him. Yo, Samaraj, sorry, sorry, sorry. We still have more cakes. Bakita, we have cakes for everybody. We got you. We have cakes for all rock fans.  We can have cake for everybody, right? Yeah. Everybody, especially when we will do the last show for the month, you all have to turn up. It's going to be amazing. And you know the hashtag that has been going on during the rock gigs, yeah? So that's going to be like a rock gig or something. So you can turn up and just have cake and have an amazing time and listen to some cool rock music. I love a pony, Zambia. Hew, you know, live requests. Niche Zangoma fly. As per Chesawna Root, do you all like it? Nini, Nisi, I just told you. Niaje. Why are you laughing? Oh, that's a nice way of putting it. I didn't think about it in that way. I like the way you're thinking and the way you're taking this. Now, I want to say lots of more love to everybody who's tuned in as well, like Bakita.  Don't snitch on us. No, man, I don't want to snitch on us. I just want to snitch. What's that? What's that? What's that? What's that? What's that? All right, now, let's check on this hashtag, what's happening now. As you're checking on the list, on that note of the in-house dieheads and fans of ours, I want to big up my fellow DJ, DJ Lee, from Spin Cycle. He's in the house celebrating this one here with us. Very honored, man, and privileged to have you on. I thought it's going to be September there. He's just super-steady. He must be pulling on me. Why are you laughing? Why? Let's talk. He's just cycling, just spinning all over, you know. DJ Lee, big up. Let me show that Enok. Enok is watching the show and he is, I don't remember, he's watching. By the way, if you have my number, pay attention. I know so many people are now sitting, I think it's on that, I'll be shout out to you. I have Mark, Steve Oh, I'll be shout out to you Steve Oh. I have Jeanette as well. Jeanette, I have Jeanette Nan, Zinan Zinan. Yeah, all my WhatsApp contacts are there. They are locked in, they are watching. They are locked in. Let me say locked in, they are locked in. They are watching, they are locked. They are locked. They are locked and locked. Alright, now brother, you said you were sitting in the house, you were sitting there, you were sitting there, you were sitting there. Yeah, shout out to you, Enok. Thank you so much for watching the show. Now, can you just go shout out to some more people on, right here on Y2.4 page. Yeah, we have so many people coming through and I appreciate all of you now, the first person. Oh, shout out to Khalifa by the way. Khalifa is watching. Hey, Khalifa is on DJ. Doing Khalifa each and every Friday. How do you call it in Keroogoya? Yeah, Friday and Zangapa, Kwanzaa. He plays Y in the morning every Friday, right here DJ Khalifa. That is from 7 to 10 a.m. Ah, I know so much. Love after that, it's called Keroogoya. Keroogoya, yeah. Yes, Red Java launch. Yeah, Red Java. That's where you'll find him every Friday. Now, I have Newton Kurya. Hey, Newton. He's saying, Feline, you're the hottest host in the world. Okay, okay. She's a goddess. Is he my hot CG manini? She's just a goddess. I'm just a goddess. I'm just a goddess. Goddess is okay. So when you use this funny, funny, we don't fail it. My producer is all like the funniest. He's like, Nihoto and Gani, like explain. So, he only say my goddess. Appoxo goddess. Her mani hot air, we feel that, we feel that goddess. You know, my hot CG in body. I'm so humble. It's like I'm so humble. It's like I'm so humble. It's like I'm so humble. I'm so humble. There's much church in Newton, like it's like we feel Newton. We feel someone like it's not just Newton, we feel someone like it's not just Newton. We feel someone like it's not just Newton, Now, Gidi Badilisha, I know someone representing from Home of Champions, 0-27. How much time do you have? Yes, what's the time? L-D, what's the time? Nandi, what's the time? I'm the most important person. We love and appreciate you. Thank you so much Gidi for watching the show. And I have almost no room. Finally, you checked in. He's a fan of the show. He said, Ndani, rock tour to Facebook. I'm the main dancer. Shout out to Feeen, Jin and Hugh's girls rock tour to Atal's one. That's the hashtag he is on. You better get on that hashtag if you want me to shout you out as well. New York Amesa. I want to say thank you so much. Niko and Barcelona. I say, I'm rocked. Niko is rocked. Thank you. You rocked. Now Iman is like, you all look amazing. Thank you. It's a rock thing. It's a rock thing. I just threw this shirt on. We just do it as you guys do. We don't do levels. We just do it. We just do t-shirts. We just do bands. Stop, stop, okay. Where were you at the keyboard? I said, I'm at Ivasha Mireira's present. Where were you at the keyboard? I wish I was with you. Where were you since you were in Ivasha? Wednesday. I'm going to be there. I'm going to stand up. I'm going to stand up. Last time my son cranberries. Yeah, zombie. Oh, cool. That was amazing. If you hear me sing. Then I have a rumor. Rocker. Rocker got repped. So if your hood is not repped, that's your fault. Rocker. Speaking of rocker, big up man. Right. Now my boy Ice. He's saying from Thank you so much for tuning in, for God so loved the world that he gave us feeling to host the show and DJ Huskills to be a teacher. You've gotten that scripture right. Thank you so much. Thank you so much, we appreciate you. That's right. I'm happy that you're watching. I'm happy that you're watching. I've heard that Huskills has come to Kittayay. He's a reverend. He was here at some time, a reverend who listens to rock sometimes. He was a rock head. Now he left a link for this show, we'll check that out. Is it Mbeka or Mbesha? I'm confused now. Mbesha or Mbengu? Enjoying the show. Okay, please just tell me, yeah, if it's Mbesha or Mbeka, but thank you so much. Mbengu, and I say, I'm enjoying the show from Isic, yeah. Hey, Selie, awesome, awesome, awesome. I say, thanks for playing Crawling by Linking Park, my all-time favorite band, R.I.P Chester. Benning Tongue, the music leads on. You're welcome. That's what I was telling him. The Wild Mrs. Chester, I said. I don't know. Us guys. Okay, so, so. All right. Now, Locked Kamakawa, Trisa Beb. Thank you so much, Trisa, for watching. We appreciate you. Somalia Abdul. Somali? Not Somali. Did you say you've been watching Somali? No, no, no. What is that here? Relax, relax, relax. No. Abdul, Abdul Niaja. We have Abdul. He's too late. Bigger, bigger. He just wants to celebrate. Shout out to my man. Now, I have Ben over Manza, and I say, I'm representing Karatina Rocking to get that Karatina. Thank you so much for watching. Mash, when I watched her follow me. Hey, Mash. Bubbles people, Bubbles people. Mash, there was your bubbles. Thank you so much. Now, Mr. Miringou, play for me. Chop Sue by System of a Downer. Wow, you're welcome. System of a Downer, S.O.D., yeah? Yeah, but that's okay. Energy Studio, Nino Ma. I'm an Iikekina weather. Stoner case, Stoner K.E. Stoner. Locked from Cost Fillin Junior. Oh, thank you so much, Stoner. Maybe me and you can, you know. Is it a stoning? You're Jinayako, we can, you know. Oh, is it a stoning that? I'm just kidding. Is it a stoning that? Now, Barassa Barrow, I say, my name is... My name is Lotte, I'm from Barass. Oh, I'm from Barass. Now, Iman Jams, thank you so much. Yes, my cake, my VT. Guys! You blooped it fast. Diana D. Diana D. I say, my name is Diwa Kichale, I'm from Dan, brought to you, Diana. I love you so much. Thank you so much. Rock on. I say, my rock you. Rock you, we love, we appreciate each and every one of you. Now, today we have to do a band profile. Today we're doing our Maroon 5. They're not so old. They're not so old. They're not so old. Come on, let's get on with it. When did this guy start? You know, he just... Adam just married the other day. He only has a first boy. Even Joinedjo married at 55. Don't be like that. Now, so Maroon 5, they are an American pop rock band from California, California, formerly known as Kara's Flower. Now, they were formed in 1994 as Kara's Flower.  High school. 1994. Yes, 1994, they were in high school. Then after that, they rebranded in 2001. That's when they became Maroon 5. Now, the band was formed officially in 2001. How old is Maroon 5 now? How old is Maroon 5 now? From 2001 to 2019. So, this is some good years. This is some good years. This is some good years. Now, the band consists of Adam Levine, who is a vocalist. And we have a keyboardist and rhythm guitarist, Jesse, Kami Michael and bassist, Mickey Maiden. Lead guitarist, James Valentine, drummer, Matt Flynn. Well, it's Flynn, not Flynn, yeah? Right. And keyboardist, PJ Motown, and the modern instrumentalist, Sam Farral. Yeah? Now, their genres of music include pop music, we have pop rock, funk rock, blue-eyed soul, neo-soul and soft rock. Now, the album...


You'll experience patient care that is specific to you with exceptional follow-up care that ensures your hearing and balance needs are being met. Audiology Associates at 1428 Northlake Drive in Prestonsburg. The Floyd County Health Department will be holding a community baby shower at the Jenny Wiley State Resort Park on Monday, November 13th. Our director, Martha Ellis, she wrote a grant which allows us to partner with Kentucky moms to host this event for our Floyd County residents. The shower is open to all expecting mothers as well as mothers up to six months postpartum. The event will also feature vendors, prizes and gifts, refreshments and more. We're hosting it just like you would a regular baby shower. We're going to have the decorations, the finger foods. We're going to have several vendors that have partnered with us that will be there to offer different services that they have available. So we're hoping to have a good turnout for this. You must be a Floyd County resident to attend the community baby shower. Pre-registration is required. For more information or to pre-register, you can call<PHONE_NUMBER>. For Mountain Top News, I'm Kelsey Dean.


This is Weyland Chao and welcome to Negligence Torts and Professional Liability, Module 4b, Part E. In this part, we will look at causation of harm and defenses. We will look at the two types of causation that need to be satisfied, factual causation and legal causation. To hold someone liable for negligence, the third element, causation of harm, must be shown. Causation of harm involves two different types of causation. The first is factual causation and the second is legal causation. The plaintiff needs to show both types of causation. Factual causation is determined by applying the so-called but for test. Another way of phrasing it is, did the negligence actually cause the harm? Or would the loss have occurred but for the breach of the standard of care? If the defendant had not acted carelessly, would the plaintiff have still suffered the same loss? So we need to find some kind of factual connection that the negligence caused the loss or injury that's being complained about. Legal causation applies what we call the remoteness principle. The remoteness principle asks, was the type of harm suffered by the plaintiff a reasonably foreseeable result of the defendant's carelessness? So what this rule is intended to eliminate are the injuries or the losses that are still factually connected. There's a factual causation that connects the two but the harm is just seemed to be too far-fetched. It's too remote. Try to get a better understanding of factual causation and legal causation by doing this quick quiz question. At this point in time, please pause this video so that you have a chance to read through the question and try to figure out what is the best answer. The correct choice here is C. Remember we're looking for the false statement. So let's go through all four choices and explain why each of them is either the right answer or the incorrect answer. So A is a true statement. Remember we're looking for the false statement as our answer. So A is a true statement. It says the smoke from the fire damaged various other parts of the house. Ken would be liable for this damage since it was caused by his negligence and this type of harm was reasonably foreseeable. So we have in that choice both a factual causation. It says that the smoke from the fire damaged various parts of the house. So that was caused by his negligence. So there's factual causation. And it also says this type of harm was reasonably foreseeable. By accidentally causing the fire, it is I think reasonably foreseeable or very obviously foreseeable that it would cause smoke damage to other parts of the house. So we have both factual causation and legal causation. So that's why A is a true statement and therefore not the correct answer. B is also a true statement. It says the delay in completing the kitchen required Barbie to eat out at restaurants. Ken would be liable for the cost of these meals since it was caused by his negligence and it was reasonably foreseeable. So it's saying that there is factual causation in that the Ken's negligence in causing the fire led to the delay in completing the kitchen which then required Barbie to eat out at restaurants because she didn't have a kitchen at home. So there was factual causation. So I think that's clear. That's correct. And it also says that it was reasonably foreseeable which I think is also correct. It's reasonably foreseeable that if a fire is caused, it would cause a delay in finishing the kitchen renovation. And therefore Barbie doesn't have a kitchen to eat in at home and she would have to eat out at restaurants. So I think there's clearly reasonable foreseeability between the negligence and the eating out at the restaurants. C is the correct choice because it is the only false statement. It says while eating at a restaurant, Barbie chipped a front tooth that required her to get cosmetic dental work. Ken would be liable for Barbie's dentist bills since the chip tooth was caused by his negligence and it was reasonably foreseeable. So it was indeed caused by his negligence. There was factual causation here. Ken's negligence caused the fire. The fire caused the delay in finishing the kitchen renovations because the kitchen wasn't finished. Barbie had to eat at a restaurant and because she was eating at a restaurant, she bit into something that chipped her front tooth. So if there wasn't the negligence, she would not have been at the restaurant and she wouldn't have chipped her front tooth. So there was, I think, clearly factual causation but I don't think there was legal causation. In other words, it wasn't legally, sorry, it wasn't reasonably foreseeable from the negligence in causing the fire that it would lead to Barbie chipping her tooth. I think there are just too many steps to remove from the negligence. So therefore the chip tooth is too remote and therefore there's no legal causation. And D is also a true statement, therefore it's not the correct answer. It says, due to her chip tooth in C above, Barbie was not able to work as a model for a month. Barbie is suing Ken for her lost income. Barbie would likely not be able to recover her lost income as it was too remote from Ken's negligence. So I would agree with that statement. It is true. The loss of the modeling income is too remote. It's not reasonably foreseeable from Ken's negligence in causing the fire. Even if a defendant is found to have committed a negligence tort, meaning that the defendant owed a duty of care, the defendant breached the applicable standard of care, and also the defendant caused the harm. There is still available a number of different defenses that could reduce the defendant's liability, either reduce or even eliminate the defendant's liability. Those are contributory negligence and voluntary assumption of risk. Plaintiff is able to prove that there is a duty of care and that the defendant breached the standard of care and that there's causation, both factual and legal causation. The defendant may still be able to avoid all or part of the liability by showing one of the available defenses. And we'll talk about two of them. The first one is contributory negligence and the second is voluntary assumption of risk. Contributory negligence is when the plaintiff's loss or injury was caused partly by the plaintiff's own negligence. It was caused both by the negligence of the defendant and partly by the plaintiff's own negligence. This is only a partial defense because we're only shifting a part of the blame back to the plaintiff. So we're shifting the responsibility for the damages part of it back to the plaintiff. So we're splitting the damages between the plaintiff and the defendant. How can a plaintiff be contributorily negligent? So it could be that the plaintiff took unreasonable steps into a dangerous situation or unreasonably contributed to the creation of an accident, unreasonably contributed to the damages arising from... The defense of voluntary assumption of risk is considered to be a complete defense, which means that if the court agrees that voluntary assumption of risk applies, the defendant has no liability at all, which then leaves the plaintiff with no compensation usually for some fairly serious injuries. Because of that, courts are usually reluctant to apply voluntary assumption of risk because they do not want to see an injured plaintiff to go away without any compensation. Therefore, what the courts have done, they have set a fairly high standard in terms of the requirements that are needed to have the voluntary assumption of risk defense. This defense requires that the plaintiff freely agree to accept both the physical and legal risk of injury. Accepting the legal risk of injury means usually giving up the right to sue for negligence. And the way that's given up, it's usually by having the plaintiff sign a waiver or agreement with an exclusion clause. Now, the Supreme Court in a case called Crocker and Sundance said essentially that having that kind of waiver, having just that, may not be enough. The plaintiff in this case suffered some serious injuries from an inner tube race that was on a snow-covered mountain. The plaintiff had signed a waiver with an exclusion clause, but the court said that waiver was not enough for the defense of voluntary assumption of risk. The Supreme Court said that the waiver needed to be drawn to the attention of the signer. So it's not just enough to get the person to sign the waiver. The words in the waiver have to be drawn to the attention of the person signing. So the person signing does not necessarily have to read it. Their attention has to be drawn to the exclusion clause in the waiver. To better understand the defense of voluntary assumption of risk, let's do this quick quiz question. At this time, please pause this video so you have a chance to read through the question and consider what you think is the correct answer. The correct answer is B. So we are looking for the true statement. So B is the only true statement out of the five choices. So let's go through the five different choices. A says the court will struggle to uphold the disclaimer clause and deny liability if at all possible. The court will be reluctant for sure to say to the plaintiff that we're not giving you anything because the plaintiff was severely injured. So courts are usually reluctant to say that there's no liability at all for the injuries of someone who's severely injured. But it's incorrect to say that the court will deny liability if at all possible. B is a true statement. It says Zeta will be relieved of liability only if the disclaimer clause applied to the physical and legal risk of injury and was drawn to Deshaun's attention when he signed. So that's basically what the Crocker and Sundance case says is that the disclaimer clause has to put the physical and legal risk of injury onto the plaintiff and also it has to be drawn to the plaintiff's attention when he signed it. C is also a false statement. It says because of general contractual principles, the disclaimer clause may be ineffective in response to a claim for a breacher contract but not in response to a claim for negligence. A contractual disclaimer clause can be effective in response to both a breacher contract and also a claim for negligence. D, as a general rule, a disclaimer clause is effective only if the plaintiff carelessly contributed to their own loss. So that is not a general rule. It's not a rule at all actually. And E, if the defense applies, the court will reduce liability only to the extent that it is fair so that Deshaun will still recover some damages. So that's a false statement because the defense of voluntary assumption risk does not reduce liability, it eliminates liability on the part of the defendant.