Good morning, everyone. Hey, Mike. OK, I think we'll get started. I'm Maaren Leid, senior advisor here at the Center for Strategic and International Studies in the International Security Program and the Harold Brown Chair in Defense Policy Studies. I'm really grateful to all of you for taking the time to spend the day with us today. I assume that almost everybody here to varying degrees of directness is engaged in the S&T Enterprise, the Science and Technology Enterprise, to some extent. And that the greatest satisfaction in being part of that enterprise is in successfully delivering new capabilities to users. That can be a very long and complex process. There's all kinds of long-standing conversations about the trials and tribulations of the path from conception to ideally delivery, from the valleys of funding deaths, depending on how far upstream you want to go, with the STEM workforce issues, et cetera, et cetera. But one crucial element of that is being able to develop and sustain the requisite support. And in the government context, frequently from non-technical policymakers to continue those activities that ultimately result in the delivery of that capability. And so it's that specific element of the process of finding ways to communicate to a whole variety of stakeholders the potential and to do that persuasively and repeatedly and on a sustained basis that we wanted to focus on today.  And ultimately hopefully leave at the end of the day with some specific ideas that we might collectively take forward to strengthen the overall Science and Technology Enterprise. So we are gonna start with a conversation with Ben Riley from the Office of the Secretary of Defense, and we'll have two panels to get into some more in-depth perspectives and then a lunchtime speaker before we ask you all to go do a little work on your own and then come back and talk again as a group at the end of the day. So we're very much looking forward to, hopefully, what will be a very fruitful discussion that sparks a lot of ideas and exchange and that you'll also walk out of here with potentially new networks and continue this conversation long after today amongst yourselves and with others. So that's the point of the day. We are exceptionally grateful to Dupont that allowed us to pull this all together. And they've been very generous with their support, not only for this or some other things we've done as well. So we're thankful to them. Just a couple of admin notes if people could turn off their ringers, we'd appreciate it. And also for later in the day, I think hopefully while we're told about your secret numbers on your name tags, which we'll have as our little code for where it goes afternoon, we'll get into that later, but with that, I think we'll dive in. Very pleased to be here this morning with Ben Riley, who is the principal deputy to the deputy assistant secretary of defense for emerging capability and prototyping in the undersecretary defense acquisition technology and logistics. This latest iteration of the Phoenix of Ben is the latest in a series of positions that he's held in the, in AT&L to help try to facilitate and foster creative approaches to war fighting challenges by leveraging and understanding trends in commercial markets, in universities, in academia, and in the Defense Department Research and Development Enterprise. He began his career as a flight officer in the P3 community, and he hauled a number of command positions and staff positions before retiring as a captain. And he has been, I think, throughout his career, a strong advocate, not only for applying the hard sciences to military problems, but also social sciences as well and integrating those things to, again, deliver meaningful advances to military personnel over both the long and short term. So he's gonna talk to us a little bit about his perspectives on best practices for building support for those kinds of activities and also potentially some areas where he thinks greater attention in the S&T community might be warranted. So Ben, thanks for coming this morning. We look forward to the conversation. Thanks, Marin. Marin and I, and I see JD McQuarrie from Georgia Tech Research Institute, are all involved in a project right now that I have a meeting on at midday called Dynamic Spectrum Sharing Consortium. And by way of background, we had a couple years ago, and you were on the panel, right, JD? The President's Council on Science and Technology did a study on the future of the electromagnetic spectrum. And one of the things that came out of that was a recommendation to sell 1,000 megahertz of spectrum to stimulate economic development and I believe 500 have been sold to date. And so one of the panel members came to me and he was advocating the development of a spectrum sharing testbed in an urban environment and where we are, we've been able in the past to sort of fund a number of little programs to stimulate an idea, what I call stir the pot. And so he was hitting me up for some money to start the groundwork for this consortium or this testbed and as we talked, I said why don't we think about the idea of a consortium of companies both large and small who do things in the electromagnetic spectrum that DOD could work with so we don't go out and necessarily contract with a single company. We contract with the consortium and thereby therefore we contract with the companies within the consortium. My big objective in recommending this was the question of how do I find those talented companies who are out there in industry who either have no history of doing business with DOD, find it hard to do or we don't know about. And in my experience there are more companies out there like that across a range of disciplines that we can possibly get our hands on. There's not a process you can lay in place. And so we've been working on that idea but it's basically how do we leverage, how do we get our hands on some of this technology? And we've had a number of, and it's gone, the idea of setting up this consortium has gone quite frankly a lot smoother within the bureaucracy than I thought it would go. But we have a number of still issues, you know, well we don't need to worry about this and a lot of people throughout the Pentagon and you talk about the spectrum and where it is and where it's going, really don't see it as an issue yet. So it's kind of been an uphill battle and we have to continue to talk about it but it's also been an interesting process. And actually we're gonna have an industry day what I'm gonna fit next month, so. Marin approached me on talking about this and I thought, first of all I thought it's a really hard problem to talk about because a couple of years ago I asked a professor at a university in the area do you have any way that we can really justify or articulate why it's important for us to spend money on science and technology research and development? And he gave me this answer that was probably 30 pages that probably could not be read by mere mortals.  The other thing is the initial reaction is when people say okay talk about the value of technology. One of the first things people drag out is the DARPA experience with the internet or an experience I have is GPS and those are all kind of after the fact examples of why technology is good. The real challenge is talking about why you need to do this before you build whatever the system is that the technology will spur. I have an article somebody sent me just the other day on the iPhone and all of the DOD investments that related it to the contributed to components in the iPhone and I thought about throwing it up here as an example and decided it's too simplistic but I think and the same with many of these other things certainly I doubt any of the developers of the internet and I know the developers of GPS ever envisioned what those things would become and not only within the military but throughout the world. I've spent roughly 20 years on and off inside the Pentagon big place and you walk down the halls from building office A to office B or whatever and you often hear not eavesdropping but just hear conversations with people in the hallway and more than once many times in fact I come across a group of people they could be military folks they could be government civilians or they could be contractors in the building who obviously have been in giving a pitch to somebody on their idea of some system or capability and some of the words I hear often well they just didn't get it or they don't understand it or if only they had listened than any other number of rationalizations like that so it's not hard, there's a certain set of probably 10 basic kinds of conversations that one can hear in the hallways as you walk around and that frustration after failing to articulate why their program is important or why it should be considered is often the one that we see, I see. As I thought about this one of the takeaways that I have in terms of talking about technology is not just the technology I have a steady stream of people coming in to show me some brand new capability or technology and sometimes they walk in and we'll put it on the table or put a picture of it on the table and say this is a disruptive technology and I told Martin before I look at the technology and the technology looks at me and nothing happens. You're not disrupted. I'm not disrupted. Sorry? Not the technology, what? Somebody will come in and say this is a disruptive technology and they just put it in front of me like this is a disruptive technology and I tell people I look at the technology and the technology looks back at me and nothing happens. Kind of like taking a horse to water and saying drink and you look at the horse and the horse looks at you and nobody drinks any water. So it becomes important to me to put that technology within a context. How might I use this thing? How might I employ it? What would be the potential application and that could either be a piece of hardware or a piece of software or whatever but if I can put whatever the technology is within a context of some sort either for a current issue or I spend a lot of time trying to guess what I think is coming down the road in terms of things that we ought to be focused on. That technology becomes a lot more understandable to me and I can say well here's where it might fit or here's where it might go or it might augment this or wherever it is and I think so the first big thing I'd recommend if you go to the working groups and all is what's the context within this thing lies whatever this technology is not just put it on the table but some understanding of what the military needs some understanding of what the national security needs are some understanding of where you think of the market whichever the sector of that technology comes out of I think is an important thing to think about. The other thing I try to think about is I sort of wrote down decomposition people come in and talk about a technology and decomposition and for me it breaks down to a number of different things first of all it's not only the technology which is probably something you can see sitting on the table such as that glass but also the science behind the technology and I think you need to think of what I'd call a continuum between the science that created that technology and the technology itself it's not just one or the other but it's a continuum of those things and I think the failure to think of that continuum often causes people to talk past each other so the scientific community is talking about one thing the customer community is talking about another and I think they wind up talking past each other and I think to me the continuum then extends from the science research area through the technology prototyping and development through the system development and to an operational capability and then if appropriate refreshing that capability over time it's not just a standalone thing. I think also that most of you I assume are familiar with the discussion of disruptive innovation and sustaining innovation that comes out of the innovator's dilemma and I think the discussion on the value of the technology is much more difficult on the disruptive side than it is on the sustaining side. When you're sustaining you already know what you have you know what it is, you know what you want to improve and so you have a much better context of whatever it is you're after. The disruptive side when you put something in front of a person and say this might do whatever I think is much more difficult to grasp and our knowledge of the value of technology I would assert is a lot better after the fact than it is before the fact on many of these programs and I think a lot of these issues have some degree or often a high degree of risk before you have developed the system which causes me to favor as we do prototyping and experimentation with things lots of little programs where I can take a lot more risk and if I fail I'm not gonna find myself on the front page of a newspaper rather than a big program where I envision the end state before we have ever cut the first piece of metal or whatever we've done to start that program. A couple of anecdotes that might help to serve the afternoon session. One of my prized possessions at home and I tell people I keep it under glass, a glass case and say break in case of GAO audit. It's a 1983 report from the GAO on GPS and as you might guess the program was behind schedule and over cost and it was an Air Force program and the Air Force was arguing, the GPS was built, the system was built primarily for large aircraft flying long distances. The Air Force was also arguing during the GPS audit that the commercial aviation industry, airlines and the like would be interested in this capability and the GPS doubted they would because- A GAO, sorry. A GAO, I'm sorry, the GAO doubted they would because those kind of airplanes flew on established air routes with radio nav aids, tack ends, VORs and the like and therefore they wouldn't need this kind of thing. So look at where we are today with GPS which is anybody here not have a GPS with them somewhere? And so it's very difficult I think to envision not only where the technology goes to solve whatever the purpose was, the original one in this case being large cargo type airplanes but also where it's going to go after that. So I keep that study around, in fact we had a GAO audit once and I mentioned it to the team and they were actually very helpful to us and I said to them to kind of soften the blow, hey you guys got some good ideas, can we sit down and talk to you about it. The second one is a Predator unmanned air vehicle which I was involved in in the 90s. It was an ACTD, my boss at the time was Larry Lynn who went on to be the head of DARPA and as we walked around with that program I probably could in retrospect think of about five or six senior officers in the Pentagon who thought it was a good idea and a lot of reasons why it wouldn't work, a lot of reasons why it was of no value and all of that and it took persistence to get that thing going and frankly a lot of that came I think from the senior leadership in the department. Secretary Perry told us, not me but my boss told us to deploy this thing to Bosnia when we had US forces in Bosnia and the response to the secretary was it's not ready yet. He said deploy it to Bosnia. But the reluctance to embrace this new idea of an unmanned air vehicle was pretty substantial at that time. And other incident involved that we had started the Advanced Concept Technology demonstration program and we were asked to come down and brief the Joint Requirements Oversight Council which is the vice chairman and the joint staff and the vice chiefs of the military services on these programs we were doing which included the predator, the global hawk, a number of precision fires things, some radar that today is in the Navy 2D and some cooperative engagement capability. And so as we're getting ready to talk one of the service vice chiefs is talking to me and he said well the only reason we have a S&T program in our services you guys in OSD make us have one. So you're gonna go talk technology with that guy. Gonna be a real tough, tough road to hoe. One of the favorite programs that we sponsored in our office is one we did with Naval Research Lab. And the genesis of the program was me walking around the Pentagon and seeing lots of people studying fuel cells and the potential of fuel cells. And we studied and we studied and we studied and nothing seemed to me to come out of the studies. So I was over at the chemistry department at NRL across the river from National Airport and I was talking to the deputy of the chemistry department and said you know I'd really like to do something with fuel cells. He said well we have this fuel cell we just got. It's 83 watts, it's from Protonax. And I said well what do you think? And he says well we thought we'd put it in an unmanned air vehicle and see if it would fly. And I said okay what would it take? And so we gave him probably I don't recall it's say $200,000 to do this experiment. They had no fuel tank for the thing so they had to get a paintball gun canister, the fuel tank for this hydrogen. They had no radiator so they got a beer can and fashioned it into a radiator, it was a good beer. And they flew it for 43 minutes and we said geez and we looked at each other and said what do we do? And then a guy from the submarine community came along and he was complaining that submarines have unmanned air vehicles on them now. Many of them are gas powered which means for safety reasons those things are stored outside the hull of the ship. Which means to launch it or recover it. The submarine has to surface which as many of you know or most of you know no self-respecting submarine wants to do. And so we said well if we had a hydrogen fuel cell the ship makes hydrogen as part of its atmospheric control. We could store the UAV inside the hull of the ship and we could use the hydrogen, the ship discharges as fuel. So we started to do it and we never used the fuel part but it was a gent at Naval Research Lab who was their UAV guy who said well I went home and worked the numbers and it should fly. And in the last year the Navy had and it was released the public release on the successful launch of this vehicle from a torpedo tube. The vehicle is extended from the torpedo tube now it's under the sponsorship of naval research and others the vehicle is in a tomahawk a missile canister which is ejected from the tube and it goes out to a point of launch it goes vertical. I'm ready for launch the top flies off, pulls off of this thing and the vehicles pulled out of the canister by an electrical assist the wings pop open it's an X wing kind of thing and the fuel cell lights off in a way it flies and instead of 43 minutes now flies for a number of hours. And that same Cuban weight for that first 83 watt fuel cell is now it was it probably is more now 550 watts of power so it was this iterative thing and when we first started a lot of people kept telling us it'll never work it won't work and many things like that so it was something that we could sort of see but the point was we certainly had no vision of where it was gonna end up we had a clear objective and to look at something like the utility of fuel cells with no real vision of where it would end up. We just did a demo with the Army Research Lab up in the Delphi, Maryland here, a networking of sensors and fires and the idea was we have a number of standalone sensors and this sensor would report something back to an operator and this sensor would report something back to an operator and what this demo did was to network these sensors so this sensor gains contact on something there's an automatic slew of adjacent sensors into the area to confirm the contact it goes to a watch officer who looks at it and can say well those are bad guys take it under fires and whatever happens next. The interesting thing to me is we did this experiment was it built on a whole legacy of earlier experiments it wasn't something we just dreamed up and did there are a whole series of experiments from different areas that have taken place before that gave us the knowledge to move ahead to this next project. Where this fits into the Army doctrine and the Army concept I really don't know if it does at all but we have now a just yesterday we met on a series of small follow on experiments that will focus on specific areas in topics and this to see if we can do the capabilities and I have a feeling we have some specific applications in mind but as it grows and it develops I have a feeling that the applications really come out of this they're very different areas than we initially envisioned. So the characteristics I see are unintended results there's certainly a reticence to accept new concepts such as the predator UAV once again not a flash in the pan and each of these efforts that I mentioned had some element of technical risk in them and frankly in many cases difficulty in explaining to audiences both within the Pentagon on the hill many times in industry what exactly we were trying to get out of it. In my view if somebody comes in with an idea and gives a brief say a PowerPoint presentation on a new concept or a new idea to an audience of 100 people in my view there'll be about two people in the room who will get it and you can usually look at their eyes and see the head shaking of those who get it and the rest of the guys look and say what's this guy talking about. And so I think the value in these small demonstrations that I referenced is you do these iteratively and you get whatever the concept is to a point where people can see it and touch it and smell it and do whatever with it turn knobs on it and once it becomes a tangible thing in my experience once it becomes something that people can really see these ideas start to flow and when the moment if you take one of these like a glass here and say oh could you put water in it once the audience the potential user audience starts making suggestions on applications I think you have them with the technology. If they say go talk to John Smith in this office you probably don't have them or if they say well it'd be better if it had this size weapon on it rather than that size weapon you don't have them but if they ask you well could it also do something else I think they now see the potential and it's a lot more you have a higher probability of success. To divert a little bit a couple about 18 months ago I asked the members on our staff I sent out a question to some of the members on our staff and said are we in a unique era in history here what we're experiencing now with globalization and rise of nations and changing time and migration climate change on and on and I wanted to see what individuals on our staff said there's no right or wrong answer I just wanted to see what people would tell me whether they're thinking about that and some people sent me a note back and said no this is unique we've never experienced this before and others said no it's like this era or that era but my question made it out to the Naval Postgraduate School and a member of the faculty out there named John Arquilla who has authored a lot of books the first one I think that really had traction was a network warfare and John brought together a number of the members of his faculty out at NPS and they spent a couple days discussing this and they sent me back a six or seven, eight page paper on the topic which to me has been extremely helpful and they said with all the changes they said we think the era most common to what we're in today is from the period from 1815 with the fall of Napoleon and the battle of Waterloo to 1914 and the assassination of Archduke Ferdinand and Sarajevo in the start of basically World War I and they said that was a period of the rise of nations you had Germany come out of the middle of nowhere from 150 or so little city states you had other nations that were struggling you had the rise of the United States you had the rise of social movements socialism had great migration from places like Ireland you had globalization and global trade and the global communication with telegraph and undersea cables you certainly had an industrial revolution that took the world from steam engines at the start of that period rudimentary steam engines all the way to automobiles, powered flight, communications, submarines, battleships of all at the end of that period and so if you step back in my view and say yeah it sounds very similar and if you take the phrase industrial revolution out and put the phrase information revolution in what it tells me is we're in for a heck of a ride for the next hundred years or so and I think that both not only technologically but socially and many other things and I think the reason I point that out is I think that the velocity of change in terms of both global issues and security economics integration as well as the velocity of technology is gonna go at a pace that's much much faster than the structures we have now to deal with it both from the development side from many cases in my view the policy side and also from how society reacts to whatever these changes are so I just so I think a lot about the speed that we're going through and how once again it drives me to think about doing things in an iterative kind of fashion and talking about these things in an iterative kind of fashion as your capability and your technology grows I think there's a different level of discussion at each level of maturity for the technology or the capability in which it's embedded. The other thing I'd point out here is in my view many people say well a lot you should do that everything comes from the commercial industry or you know we have people argue for a DOD investment and for me it's a blending of the two together it's not either or it's a blending of the two. As we talk about and how you talk about technology again there's a whole series of different audiences that I think you should consider. We have a uniform military one we have defense senior leadership and civilian leadership we obviously have a congressional one and then there's one to the general public and each of these probably has a different message for me uniform side one facet and there's probably many more one aspect is obviously military utility for senior leadership within the department probably cost including procurement life cycle risk time to field or some of the factors. Congress I think thinks about many of the same things risk cost utility need and then the general public I think value to the taxpayer. And as I said the messages may change over time with the maturity of the capability and every one of these new technology areas has to compete with an existing infrastructure and an existing technology. And I think when I initially thought of this topic I thought talking technology to the greater public but I think and as I've suggested a couple of times I think talking internally to the DOD is equally important the parts within the Pentagon. So just one of the things I like to do and I would recommend perhaps is an exercise that might be accomplished is looking at some of these challenges through a series of case studies. Both present and past probably in keeping with my idea of going back and saying is this a unique era we're in but I think case studies. I suspect I don't have a lot of data on it but I suspect the introduction of nuclear power in the Navy would be a good one. I would guess there was probably a bit of resistance there. I had a book and I read about 10 years ago and I just pulled it out. It was called Monitor and it's about the story of the USS Monitor and the Civil War and how the monitor was built. And John Erickson was a Swede who built it, conceived of it and built it against a lot of resistance in the Navy. His idea of the monitor I think would develop probably, safe to say developed over about a 30 year period was not something that just came out of nowhere. The technology was not necessarily an ironclad vessel they'd been around but it was the propulsion, the propeller, the gun turret. This was a shipman by 58 people with two guns compared to larger ships that had many guns and hundreds of people on the crew and it fought as I'm sure most of you know the battle of Monitor and Merrimack and the Civil War and the day before the battle between these two ships, Merrimack had come out, the Confederate ship and sort of decimated the Navy blockade off of Norfolk, Virginia. It was a time when the British and the French were thinking about coming into the Civil War on the side of the South and blockade was key. One of the things they were looking for was cotton and the next day the monitor showed up and they fought to a standstill, the blockade was sustained and the French and the British backed out of entering the war. But and so I'd read this book about 10 years ago and that's kind of what I focused on was the historic part and the innovations that Erickson put in on the ship. But as I picked it up the other day to prep preparation for this and I kind of went through it and the other thing I saw, there was a whole series of different audiences that they had to work against to do this. Gideon Wells was the secretary of the Navy. He was very concerned with the Confederates building this ironclad vessel off the burned out hull of a former U.S. Navy ship. He felt they had nothing to counter it. He liked Erickson's idea. There probably was not a soul in the Navy who liked it, in a uniform Navy. And so Wells had to work within the President Lincoln's administration to build support. He had to work on the Hill. He had to work within the Navy and he had to work with an industry and he pulled a guy in to do that work for him named Cornelius Bushnell from Connecticut. And Bushnell was an entrepreneur, I guess Wells did not fancy himself to be a good talker so he brought in Bushnell, who was an excellent talker. And the Navy finally relented but they wrote all these requirements for the ship. They'd have to have masks and sails and do this and that and all, all of which Erickson ignored. And when it was launched it had no masks, no nothing. Everybody predicted it would sink when it launched and it floated within I think like four inches of what he had predicted. So it really was a nice case study of the various messages that he needed to convey throughout a variety of different audiences as Secretary Wells needed to convey. The other one is I have, first thing I read in the Washington Sunday Post is the comics. I read Dunesbury and there's a section in there that some of you have probably seen called flashbacks and it's on some historic event that took place in the D.C. area. And there was one a number of years ago on the Wright brothers trying to sell up airplane to the Army.  And so finally they relented but they wrote a set of requirements that they would never be able to, he felt, meet. Fly 30 miles an hour for an hour and a half, be drawn by a horse drawn, wag him, things like that. The Wright brothers finally succeeded or succeeded and then they looked at each other and said well maybe we ought to buy one of these. And then the question was well how do we buy it? Not in a budget and so on and so forth. Teddy Roosevelt apparently had a slush fund as president. They bought it from the slush fund. But once again, 50 years later, 60 years later, where we are in aviation and where we started, a lot of reluctance to talk about the potential of this kind of device. So for me, some future case studies, one would be cyber. We all understand cyber, we hear about it every day but I'm not sure that we really understand the magnitude of the world of cyber and what's coming down the road. Another one would be synthetic biology and chemistry. And a third one I think maybe tied to that, what I just mentioned, would be human performance and human performance modification. We're kind of a physics based organization in BOD and so when you start talking about modifying human performance and by that I mean endurance, strength, learning, we kind of tend to go around that. And I think that those are things that are starting to get attention, my view. And we ought to be talking about how do we articulate that and importantly as we articulate it, how do we bring along the policies that go with that? Because there will be policies. So finally in summation, I think the message is very. And when you talk technology, the message is very with organization. Each organization needs it for their level of understanding where they are within the structure they need a different type of message. Talking about technology as a standalone thing is hard. I mean it's a lot more understandable and not more usable if you put it within a context of some sort of application. Next it's not only the technology but the science behind the technology. You don't have the investments in the basic research areas, you're not gonna get the technology. And so it's a continuum from science and research to technology. I favor an iterative strategy that does a lot of different experiments along the way. One of the demonstrations we sponsored about a year ago, a year and a half ago now was a coordinated exercise between an unmanned undersea vehicle and an unmanned air vehicle. And the unmanned undersea vehicle was kind of guarding an entrance to a harbor in the air vehicle and it would get a contact and it would go back to the air vehicle and it would go over here and do this. What I had hoped we would do is do a series of iterative exercises in that area so in five years we could look back at that first experiment we did and say boy was that primitive. But you have to start somewhere and you have to build over time. The other thing I think is a velocity of change in technology and global events that's gonna, I think, challenge our current processes for development and fielding. And then finally, a number of years ago, I was at the Army War College in Carlisle, Pennsylvania and I heard Sir Michael Howard, a British military historian, talk. And he said the only thing harder than putting a new idea in the mind of a military man is taking the old one out. That sounds funny, it's true, but you have to appreciate the fact that those lessons that that military guy has have often been learned the hard way. So it takes a lot of work to do that. And that quote is actually derived from B. H. Hart, Lydell Hart, who was also a British military historian and I think comes from about 1930. So whenever anybody comes in and we talk to them and I tell them, well, we'll talk about a technology and they say it's no good or it won't work or anything, I often think of Sir Michael Howard and Lydell Hart in that quote, so that's it. Thanks very much. We have a few minutes for questions. So if people want to raise their hands, I think we'll be coming around with mics if you could briefly identify yourself and then ask a question. Great, I'll go over here and then over here. Good morning, Tony Bertuca inside the Pentagon. I wanted to ask you a little bit about the renewed emphasis that this area has taken on over at the building. Mr. Work's third offset initiative, Mr. Kendall's long range R&D and investment strategy that's being worked. It seems like this area now is really gonna get a lot more emphasis. I'm wondering if you could talk a little bit about your role in those initiatives and if you think it's going to drive more resources, however large or small they may be to this area in the near future. I don't know if it'll drive resources just because of a broader budgetary things, but I think where we are, our office is in research and engineering and in my view, we did a lot of these JCTDs, joint capability, advanced capability, technology demonstrations. We're shifting more and more toward prototyping and the idea of prototyping. When Mr. Kendall first brought this idea out, he said one of his big objectives was prototyping focused on people in industry and I would add people within the government having in a period of reduced acquisition, having hands-on experience with systems such as prototyping. The other one was my view, but the magic thing he said to me was prototyping not necessarily leading to programs or record and or transition, maybe it was, I don't have the quote exactly right, but in my view, a lot of the previous programs we did, we would always be graded by, okay, how many of these things transitioned or went to operational use and how many went to programs or record and the like and we'd say 75%, everybody writes 75% down and nobody ever stopped to say, well, what does that mean? We would just write 75% down. But my personal view is if you get, if your report card is based on number of things that went to operational use to get a good grade, you're not gonna take a lot of risk. That really becomes kind of mundane. And so when Mr. Kendall said that really, the objective is hands-on experience, looking at new technologies and all, it gives us a chance to take risk and hopefully fail, not hopefully fail and hopefully not be hauled out on the carpet for failing. That's probably what I wanted to say, if that makes sense. And I favor small things, not large things. It's kind of my tendency, I guess, sir. I think we got you in charge, okay. Over here and then, sorry, then we'll go over here and then go here and then it's probably to keep on schedule and we'll have time for, so. For decades, we've been victims of reverse engineering overseas by adversary states. And now once in a while, adversary states come up with some pretty cool stuff of their own. I think of the Chinese missile, coastal missile, which is launched ballistically and becomes a cruise missile, potentially against our aircraft carriers, or the Shkval torpedo in Russia. So how good are we at reverse engineering and how quickly can we field a reverse engineered product? Second, what happens when you're tempted to reverse engineer an allied technology? Technology that's succeeded in an allied state rather than an adversary. Well, I can't tell you how good we are at reverse engineering things. It's certainly not an area of expertise. But I would say that we have made, within our office, a concerted effort to look at what's happening outside of the US and technology area. And we've done a couple that probably are not appropriate for the room. Some of which we have demonstrated and deployed. Others that we have under evaluation right now. And as I'm sure you say, people say quite often, it's foolhardy to not look at technologies in other parts of the world. And we have hands-on experience with that. I'd also say that I think that we have been involved in a lot more active engagement with some of our long-term allies and others. And we're looking for more overseas engagement. Right here, and then over there, and then we'll have to take a break. I thank you for your talk today. I was wondering if you see, or the Department of Defense sees, a interaction between intellectual property and national security. I would say, yeah, sure. Yeah, okay, that's good. Are we aware that the American patent system is under attack right now? It's, I am, but it's beyond the scope of what I do, yeah. Okay, how do you think that's gonna impact our small, private, personal innovators? The people that actually have innovated in the past, the biggest inventions that we've come up with. Is that a question? Well, we have independent inventors. Corporations have rarely come up with breakthrough inventions, if ever. But right now, we are not offering patent protection for those small, independent inventors. And they will not be able to invent because they, and prototype, because they cannot get investment money because they can't get a patent on software. I could, we've worked in that, some of that area. It's not an area we work, but we've worked in it, and frankly, in my part, is to stir the discussion on some of that. We do work with a number of small inventors like that. The idea being helping them develop ways, not with their IP, but more develop ways to protect their product or their idea from mainly cyber theft, in an affordable manner. I could talk to you more about it, but those are things that we're aware of. I've got one last question right here. I've got to try to stay on. I don't want to get totally off base right at the beginning. Sit up to it. Blume of Smith from No Edit Corporation. You've largely answered my question with the two previous ones, but just a tangent on that. Are you seeing any evidence that the need to either protect a technological edge in which the US is investing or alternatively to offset a technological edge that another country might be gaining is actually changing the way in which the US relates to different countries. For example, you've referred to the way you're benchmarking, to some extent, and studying what other people are doing. That obviously works very well within the Five Eyes community at best, but there are many other countries that are coming up with smart ideas. Is the US changing the way it relates to countries or potentially changing the way it relates to countries in order to protect its own technology or to gain access to others? We're looking at, in DOD, looking at particularly cyber protection amongst all contractors. We have, again, an effort in this area, I would call it, again, it's not an area that our office has direct responsibility in, but I'm trying to demonstrate some things to get other parts of the department to look at what we're doing. I think the answer is yes. Okay. Ben, thanks so much for taking the time. We very much appreciate it. Hopefully, I think you've set the stage very well for the next two panels, which are designed to first offer some perspectives on, from some of the audiences that you mentioned, and their observations about things that work well and maybe not so well, and then the flip side of various stakeholders on the producer side of the equation will offer their views on how to do this effectively. So again, thanks for taking the time. I appreciate your experience and continued efforts. And so if people want to go out and grab a cup of coffee before we come back in, we'll continue the march on towards lunch and look forward to seeing you back here shortly.


headline news update welcome folks we have that our investors trading down 404 Nasdaq's on 425 S&P's off 102 and we're gonna have volume in this marketplace folks okay if we go over just look at the industry volume out here today it's been basically high all day right now you're at 736 million inside the NYSE that's gonna do over you know 1.1 1.2 billion inside the composite you're at 4.3 that's saying that's gonna bang out at somewhere about 5.5 5.6 billion we go look at the spy what do you have inside the spy spy right now you've already done 101 million shares and just so you get some context in that right the last high we made folks was 86 million you get an hour left you're doing 101 million you get another swing point here at 158 million it's not gonna do that but big big numbers and you know because of the depth of this run on the way down you can expect a lot more selling into this close you down nine bucks and the Q's right now you got 81 million shares that's that's also a big volume in the last high that we had up here at 68 million you know so you can see they're getting rid of it in a huge way gold gold contract bottom line does look like it's gonna try to go break these lows it's been a straight line move down today you have like it's 187 for 184,000 contracts that's not a lot but once you dig into this 1870 and we're 1853 it's like that that opens it up man it opens it up to like 1832 it opens it up to 1802 and if we go over and you just see what's going on with that US dollar it has to do with the dollar the dollar is not backing off its highs you know it hasn't been able to trust out of this so two different things end up happening here we have been up here eight days now eight trading days the longer that we do stay up here the more probability that you will blow away from this area so and if we do oh baby it will be insane because what would happen then the dollar we go to 121 the rest of these currencies are already having a hard time against the US dollar you know your emerging markets will just get absolutely smoked that you know they're already got smoked but you'd see a lot more let's go take a look at the bond because it's the interest rate structures that are definitely you know causing chaos and out here today yeah you hit 1708 you're at 118 no sign of strength yet stare at that folks come right back


Thank you by the Secretary of State and the Secretary of Defense and many that we face instead of about him. Thank you, Mr. President. Mr. President, Mr. Vice-President, Secretary Shiloh, Secretary Lambert, willing to tell you that the International Police Justice sweared in his government the mission of providing military support for the south in rifles, grenades, rocket launchers, and other tools of war that have been sent to Central America. You see here, we're captured in El Salvador and in Honduras. All of the N-6 means, all of them, were originally shipped by the United States to Vietnam, captured by N-5 in 1975. You have Mr. President, he's very well followed by his own first-hand experience. It's not only in a country that we all have received in El Salvador that we are in Central America, that we have received this opportunity. Thank you, Mr. President. Thank you, Secretary. Thank you, Mr. President. Good afternoon. These weapons here, most of the weapons we receive were M-16 rifles, .50 machine guns, and other military supplies. In 1983, we have received some 7,000 weapons, including rifles and other types of weapons. Secrets from Panama, Costa Rica, Nicaragua, where the weapons are introduced to the region, then Honduras, Guatemala. From Panama to Nicaragua, where there was a change in vehicles, and then the weapons were taken in Honduras and it was in 1985. I receive around 80,000 rifles in the cities of San Salvador. The last shipments that I received shortly before I left, I received in January. To this day, there is only one mission. In the first half of the year, there are 1,000 kilos of weapons. There are also other corridors between Honduras and El Salvador. This is how you see all of these weapons. Here we can see the results of a meeting held in 1988 between Jorge Shafiq Hantal, a member of the El Salvador and Communist Party, and Mr. Nguyen, who is the vice minister of Vietnam. Here, in this documentary on lesson one, 1,000 rifles can be sent to El Salvador. That stays to the now, and then they left this country in 1988 to the final destination, El Salvador. First one from Cuba, Nicaragua, and Honduras. Here we go again to this team mindful, this is the one most commonly used in our country. There is an example now. This site is for Soviet men, and it's been adapted to use within 8100. It also has medical supplies and walkie-talkie. It was stopped in Honduras in 1985 after suffering an accident. This is a vehicle that we used to capture families with the most important information. This is a vehicle that was found in a corner between Nicaragua and Honduras. This is a vehicle that was found in a corner between Nicaragua and Honduras. Here's a code book that contains code names for different sites in Honduras. Here we have another one that continues to look out for us. A code book. A code book. And the Russian binaries, which are the ones that will use most complicated combat. This in my capacity as a former militant power with the Federal Liberation Front and also adds a fundamental to the Ministry of Interior for my country. From the beginning of the 26th of July, 1979, you were in Nicaragua at the end, you were in charge of your party. In the month of May of 1981, you started your first military service in Nicaragua, where you had taken over the process of the military service in Honduras. In Nicaragua, there were 7 passengers. This is a scale of me who has taken over Nicaragua, and has created a large number of factories in the country of the 80s. To take over the Nicaragua, you had to take over the American sub-bass. The construction was built in Nicaragua, generally in Bapu. A minister by the name of Willie Allen, a military minister. These are things that he lived with the Nicaraguanian government. This is what I can tell you that I think I will get my head first over here. If that's what I came to tell you, if you want to keep this man alive, you have to take him home from here. So that's why they told him I'm very happy. He had to be out of Nicaragua. There couldn't be no areas. For taking him to a cubian to testify, I said I had already testified.  They carried me back to the Moderna here. Ten days after the 73, they wanted to work with them. I've been in my home town. One of the security for the FSN came to me and said, Archibald Tarifa, in a little tiny canoe with a paddle. That's how I reached the post-Tarifa. Three days, I was checked and understood they were excavating through. Even some well-intentioned, the record officials seemed to be operating under outrageously false assumptions. These captured weapons, the vivid description of subversive activity and the portrayal of repressed proof of sanitary crimes against their neighbors and against the people of Nicaragua. These weapons and the tests we've seen in the process. These rifles, land cannons, grenade launchers, and other weapons did not just miraculously run drugs to poise our children in the back by an extraordinary support network of international commons. One doesn't need to be at a particular party or even privy to seek the information to see what's happening in Central America. It's clear, as a staging area for aggression against their neighbors while totally subjugating them and their campaign of internal repression is being hated. Let's make known the statement. This nation too is threatened. If we do not act now to counter this subversive aggression by helping the brave men and women of the Nicaraguan Democratic Resistance, America's will in the not-too-distant future will be a reputable disaster. That's why I am asking the Congress to set aside the partisan politics and act now to protect our national security. America needs to hear the testimony of individuals like the ones we have with us today, men who were on the inside, on the other side. Senor Romero was the one who dealt with combat without suffering. Utility, repression, and shroud of lies amongst the commons created ourselves. Senor Archibald, who was tortured in jail, these three are only a few of the many who deserve to be heard by decision makers. I would open all members of Congress. We have not had a chance to hear their message, or have not seen this display. We will take the time to do so. The display will be on Capitol Hill next week. What we heard from these brave men also confirmed the internal repression of the well-managed campaign of lies, distortion, and just as we've been told here, disinformation. Masters of deceit are outdone themselves, and will see through this small screen. Commons go to the paralyzes. The men are from doing what is necessary to save Central America. But they will not succeed. Only in a free society the truth will be heard. Today, I think we've got before us effects that the American people need very much to hear. And I hope that all of you


Welcome to JSA TV, the newsroom for tech and telecom professionals. I'm Jamie Scott-Okataya of JSA, and joining me here at the Chorus Communications Lounge at Channel Partners Evolution is Mr. Mark Ayat. He's the senior director of alternate channels from First Light. Mark, welcome to JSA TV. Thanks for having me here, Jamie. Appreciate it. Thanks so much for joining us. We are very excited and it's so great to have you again here on JSA TV. If you haven't seen other Mark interviews, definitely check them out. Search that. Dean would love that as well. And we are very happy to catch you up right here at Channel Partners Evolution, of course a key industry event for Channel Partner programs. So with that, do you have any news or updates you'd like to kick this off with? Yes. A lot of new news, which is a good thing, right? I suppose we should start with our new owners, Anton Infrastructure Partners. So rallying cry, very much been continued growth, continued footprint, which is an exciting time to be at First Light and for our partners as well. So and even on the product set side of the house too, a lot of times we come to these events and UCAS is a big buzzword, right? Well now we have UCAS as a product set, which is exciting. So cloud connectivity to AWS and Azure as well on the product side of the house. All huge and exciting things for us in the Channel Partner program. And then even a partner portal, which will be coming Q4 here. So that's exciting as well. So. Oh yeah, and I've been hearing about your partner portal. It's going to be very high-tech trending. Yes. And of course we should mention how First Light has been a growth story for years now, for sure, acquiring pretty much everybody. So we've got Oxford Networks, Sovereign Communications, FingerLink Technologies, thank goodness I have a little cue card here, and 186 Communications. So what does this mean for the First Light Channel program? I think it's big. Anytime you got an expanded footprint, right, an expanded product set that's certainly more opportunities for our agents out there. So I think they're excited as well. And then I think just in terms of general resources, right, we've got required some great companies, we've acquired some great people along with those companies. So I think the biggest important thing for myself is the fact that it's not just me managing the Northeast anymore, we now have a channel team managing the Northeast, which is very exciting for our partners out there. That is very cool. It's all about team and bringing that channel team in to, you know, feel that love. And the unique DNA that First Light has, I mean, really an amazing group. We've been very honored to work with you for five, six years now, and it's just been amazing. So I can testify to the quality of the team there. So looking into your crystal ball, what do you see as new developments on the rise, thinking like 2019 and beyond? You know, we've been kicking this term around of channel enablement and what exactly that means, right? So I think part of that for myself means, you know, really casting a bigger net. So really just getting the education piece out there with our existing agents, perspective agents as well, doing more webinars in 2019, more regional events with a lot of the master agencies that we do business with today, and just making sure our names at the forefront, you know, where we've been tasked with building the channel program, and that's exactly what we're going to do for 2019 as well. So I'm excited. We are excited as well. So wonderful news. Again, more of the same in terms of First Light, a growth company on the rise, one to watch. Where can our viewers who want to learn more, find out more on First Light? Firstlight.net. So, Firstlight.net, you heard it. Mark, thank you so much for joining us, and thank you viewers for tuning in to JSA TV. Happy networking.


I hope that you cannot hear the renovations going on, I hope that they do not disturb your entertainment. Alright, so let's get this in. All that knocking and banging and getting on my nerves, yeah. Like there was a bunch of strings and special effects. It just looked like a guy with heightened senses.  That's interesting. That's different. I'm gonna definitely have to check this out. Very interesting, very interesting. Hmm, this is gonna be interesting to see. I will be watching this series. So many sites. Post your comments down below. Let me know what you thought of the Daredevil trailer. One million subscribers. Press the like button. Woo!


How to make puffy cloud paint. I love to paint. And today I'm gonna show you how to make puffy cloud paint so you can play too. The first step into making puffy cloud paint is to get half a cup of flour. And pour it into a bigger bowl. Then you should take half a cup of glue. You need four cups of shaving cream. There, that's about four cups. Then you mix all that together. Important tip, do not over mix. You want the shaving cream to stay light and fluffy so don't mix super fast or super hard. Feels light and fluffy, just the right consistency. Feels kind of like a marshmallow. It feels like a cloud. If it's not fluffy enough then you might wanna add some more shaving cream. The best thing to do is add a little bit at a time. Once it's mixed, this is gonna be your white paint. Put your white paint in each of the little bowls. These will be your different color paints. You mix the food coloring into your white cloud to make it a color. Add more drops to make it darker and less drops to make it lighter. Really stir it good so all of the darker color gets mixed in. But don't mix it too much so it gets not puffy anymore. I think that's about good. Want it to get about this color. And once you make all your colors, you paint.  Because since cloud paint is really wet regular paper will just soak it up and will rip.  You can use sponges, brushes or even spoons. I'm gonna use some white first to make the little clouds at the side of my rainbow. It is kind of hard to work with so you might wanna dab it instead of brushing it like you would with regular paint. You want it to be as puffy as possible. You should try to layer over layer so it gets more of that little puffy cloudy texture. I guess cloud paint, when it dries it feels like your hands could be walking on a cloud because it feels so good. It feels fluffy and so squishy. Make sure it's puffy so it looks like a puffy rainbow. Not just the puffy clouds. I'm using a spoon now because using a spoon you can drag it out more. You can always spread it a little bit. It's really great to use your fingers cause it's okay to get messy using cloud paint. That's half the fun of it. For more great videos like this one, catch here. Come on, come play with us.  Or press this button to subscribe here.


Day two of the World Famous Mining Show in Toronto Canada. Today we're talking with Play-Doh Gold, but incidentally we're not talking about gold. We're talking about something else in Play-Doh Gold with our good friend Anthony Cohen. That's right, well thanks Peter, great to be here. We're going to talk a little bit about niobium today. Niobium is on the periodic table? Yes it is, it's NB, number 41, if I remember correctly, and it's a rare grayish metal. It's not a rare earth but it's very rare. It's only mined in three places on earth. Two in Brazil, two in Brazil you got it, and one in Quebec, and I'm imagining Brazil produces the majority of 93% of the world's niobium. So we are vulnerable to supply chain interruptions. Absolutely. So where's your project? Our project I believe has the best location in the world bar none. You take the TransCanada Highway 20 minutes outside of the famous mining town of Marathon and you're there.  Inside Ontario.  So you have access to infrastructure, mining wisdom out of Thunder Bay and Timmins. Canadian Pacific Railway goes by, deep water ports at Marathon and Thunder Bay, TransCanada Highway, mining workforce, you've got everything. And First Nations are business-minded, relatively easy to work with. Yes they are. We're working with them and we have good relations and in fact we hire them. When we did our drilling program we engaged a First Nations company that cleared the road for the drillers to get in. We engaged First Nations person in core cutting so we're putting money back into the community and you know it's as a junior company as you know it's tough. We don't have the giant cash flows of the majors so we only have money to work with when we raise money and have money but when we do we put it back in the community and we try and do our best. You have to reconnect with the communities in which you live. Absolutely.  We plan on it yes. We plan on drilling this year. We'll have to raise some money to do that but you know we feel confident we'll be able to do that because it's a very good project and we have some mineralogical and metallurgical studies being done now and if those are favorable I think that's going to be very very favorable to us raising the money to drill because metallurgy is one of the handful of mine killers. Yes. If you have bad metallurgy forget it. So you're doing it relatively early if only on the project three years. Well what we did yeah what we did was we drilled nine holes with 100 meter spacing. We hit massive carbonatites on every single drill hole. That's the host rock you need to host the niobium and of course the niobium is in the pyraclores and the apatites in that carbonatites and we had we have niobium in every hole and we have you know some large intersections of decent grade like we had about 93 meters of but you haven't hit the edges of your up. No it's open all directions yeah open. Good so you have a lot of work to do. We do and what we really have to do which is exciting the discovery was made by Rudy Wall. He's this year's this year's Bill Dennis award winner for Prospector of the Year and in fact he's getting the award one of the main reasons is this niobium discovery. He's won the Northwestern Ontario Prospector of the Year award. He's now Dr. Rudy Wall. He was given an honorary doctorate at Lakehead University in Thunder Bay. I call him the king of Northern Ontario. So Investor Intel is hosting a rare earth project summit in May. Yes. Maybe I can see you there. Absolutely. Thank you for coming in today. Plato Gold, Anthony Cohen. Thanks very much Peter.


Hello everybody welcome back to another Adobe Photoshop 2022 tutorial in this one I'm going to show you how to create any image into a Van Gogh style portrait or Van Gogh style image Van Gogh style image come on greatest use your words all right what am I talking about well here is an example of the final product and here is the image that we started with this image is terrible it's got very little contrast it's dull it's gray it has very very little it's just not a great image we've turned this into this and I'm going to show you how to do it so let's get started all right guys the first step is we're going to get to work on the image and we're going to start making some major adjustments the one that we want to start with is we want to work on the lightest and darkest parts of the image because they're just there's just no contrast and there's just very very poorly shot so we're going to go to the adjustments here you don't see it just up here you'll see adjustments we're going to create an adjustment layer and we're going to work on the curves first so we're going to left click on curves and presto not a lot happened don't worry about it holding down the alt key or the option key if you're on a mac left click on the auto button and you're going to see it open up auto color correction options this is what we want it's default set to enhance brightness of contrast we want to find dark and light colors make sure that is selected and we also want snap neutral mid tones so we're working on the lightest and darkest parts of the image okay click that and we're on our way the next step we're going to make another adjustment layer but this one is a vibrance layer we basically want to brighten the party here van go used a lot of bright colors as you probably are well aware and this image is not bright at all so we want to take the vibrance from zero to one hundred yeah we're going all the way with this one let's get going all right now we're cooking with fire the next step is we want to add in some paint we want to put in some dobs of paint and it's going to look a little synthetic but that's okay we're going to work on that at the end but we want to add in like a sun so i'm going to go ahead over here to the brushes tool i'm going to left click and select my brush and then you'll notice that i have a brush uh let's see which one did i choose i've got like a rough round bristle brush but either way uh whatever brush you choose i'm going to go with this one if you want to see what brushes are available left click up here on this little folder with the brush on it and then head over to brushes and for me brushes is located right here i'm using a rough round bristle brush which is kind of the one i want you will notice though if you don't see that in your list of brushes and you can search right here you can go to your legacy brushes and then just drop it down and then you'll see your legacy brushes and then underneath you'll see thick heavy brushes and then you'll see rough round bristle if you do not see that and it's possible depending if you've had like a recent update left click on this little hamburger menu and make sure that legacy brushes which is down here is selected that way you'll have access to these brushes okay a lot of time a lot of talking on the brushes we've got our rough round bristle brush selected now what i want to do now is i want to add this to a new layer so i'm going to click here on my vibrance layer now i'm going to hit the plus key and the layer is at the top of the layer stack beauty i'm going to draw in the sun first so i'm going to go over here and you're going to see that i've got white and white selected you probably see black and white which is fine i'm just going to click on the little white foreground color and i'm going to select a bright yellow color because again he used very bright colors and for this one maybe we'll put the sun right here so we're using we're just drawing in this rough bristle we brush sun and you know it makes sense because the sun sort of coming through the clouds there in the image okay good now i'm going to go ahead and click on that again and now i'm going to select white for the white we're going to add in some white dobs into the sky and again this doesn't look quite right don't worry about it these are just pretty kind of randomly selected so i'm just going to make one there and maybe one there and i don't know something like that this will look correct in the final copy okay so now we've got some brushes we've added two adjustment layers and we're on our way the next step is i'm going to go up here to the selection tool or the move tool part of me and i'm going to turn all of these layers into one layer so i'm going to click on layer one i'm going to hold down the shift key go to all four layers and i'm going to convert them into a smart object right click on them once you've selected all of them and just go to convert to smart object okay guys we are on our way let's get going all right the next step is we're going to go ahead and start adding in some distortions and filters so now that it is a smart object we can apply filters to the image non-smart objects not so good so here we go the first one we want to do is we want to give it a glass effect so head up to the top here filter and then let's see where glass is filter filter gallery and then for for glass effect you'll see it's under distort all right for the glass i'm going to go with a stylization okay well actually you know what let's go ahead over that first so glass glass filters applied now we're going to go ahead and just add the distortion to 10 the smoothness to 12 i like that and very importantly you want to make sure that canvas is selected the texture is usually selected by blocks at the beginning this is the default switch that to canvas scaling at 100% and presto left click on okay and we've added a nice little cool glass effect to it again we're still far off from where we want to be but we're on our way we're going to add in a second filter and the next one is oil paint we're going to go up here to filter we're going to go down to stylize filter stylize oil paint okay good oil paint is loading up and now if you look here in the little preview section you're going to see some shades of van go you know where this is going okay good stuff stylization i'm going to go with a stylization of 10 i'm going to go with a cleanliness of 3.5 a scale of five and a bristle detail of 10 lighting angle minus 60 this is the default that's just fine and shine i've got it set to 1.2 for this one all right left click on our way here we go comes the filter okay now you guys are seeing the van go action happen we're not obviously there but we're getting closer good stuff we're going to go ahead now and convert this and add in some more filters all right so the next step here is you're going to notice that i've gone ahead and clicked on the smart filter and now we're going to go ahead and work on those paint dobs that we added on here we go we're going up here to the left side we're going to go to the quick selection tool so you can do that by accessing it by pressing w and then i'm just going to go ahead and roughly select those little dobs that we added in and you'll notice that there's a plus so i am doing a positive selection and i'm just positively selecting these little pieces and little paint that i added in all right cool and again very importantly do notice that i was selected on the filters now i'm going to go to edit and i'm going to go to fill and i'm going to fill these with black watch this fill fill black okay when you do that you'll see that these images now all of a sudden have those black swirls or the paint in the they don't look like they're just you know pixelated paint added on they've got texture to them that was the effect that we were going for awesome let's keep going awesome all right guys now we want to brighten this up again so right now you're going to see here that the paint dobs are still selected so i'm going to go to select deselect so that everything selected or everything isn't selected in that matter and now we're going to go ahead and brighten the whole image up a little more so how do we do that same way we did at the beginning we're going to go to the adjustments layer here we're going to create a new vibrance adjustment layer left click on that and the vibrance is again going to go to 100 we are going all the way with this we want this to look nice and bright beauty now if you're looking at this you're going to say hey this is starting to look a little bit like a van go painting again these are a little bit blown out here we'll get to that in a minute but yes we are on our way all right guys the next step is again we're going to be dodging and burning so dodging and burning allows you to selectively brighten and darken areas of the image now this doesn't look too bad but let's go ahead and let's take some of the trees and some of the forest and let's just brighten that up a little bit I just feel like it's a bit too dark for my liking so how am I going to do that I'm going to go over here I'm going to select the dodge tool I'm going to increase the brush size considerably I've got the exposure set to 40 and I'm working on the mid tones and let's just go ahead and you'll see here that as I just left click on it and again this is very broad I'm going ahead and just brightening some of the trees here so we're giving it a little bit of a brighter look and you know what that looks pretty good to me if I want to darken maybe the skies a bit I can add I can switch to the burn tool and then I'm going to go ahead and darken it just a little bit we're working on the highlights here but if we're working on yeah let's work on the highlights and let's just go ahead and see what happens here okay a little bit darker again season this to your taste that one actually didn't work because that went into the mountains I'll commands it something like that okay I mean oh that's a bit too much we're going to go exposure down to 40% and let's just go ahead and darken it a little bit again this is totally up to you how dark and bright you want each part of the area but I want you to know that this is an option for you now let's go ahead and warp it all right guys we're getting close to the end here let's go ahead now and make a warp adjustment to this so what you want to do is you want to hit command T or control T and that gives you the basic transform tools when you open those tools you're going to see up here you'll see a switch between free transform and warp modes we are going into warp mode left click on that and then on the left side you're going to see a few options you've got different default warps that you can apply and the wave warp is one that works quite well for this but I'm going to show you how to do it manually so that you can get it exactly how you want it you're also going to see here that there's a grid the grid is default but you also see that there is a 5x5 grid this chops this thing into 25 equal rectangle pieces and you can go ahead now and adjust them now before I start making adjustments keep in mind that van Gogh had very swirly very warp type look to it it had nice swirly look so I'm going to see here what I'm doing I'm going ahead I'm pulled it and I'm torsting I'm twirling it so I'm pulling it a little bit and then I'm twirling it so we're warping it this way but we're swirling it I'm going to go ahead and make some small adjustments here and you will notice that again this is a swirl warp we're warping it but swirling I know I said that twice but can't can't say enough that's exactly how van Gogh made his art so I'm just going to go ahead and do this manually a little bit here I don't want to take too much time here I'm going to warp it I'm going to swirl it and you guys are going to be able to see how this works so that when you're doing your own shots this is how you do it again I'm going to twist this right and then maybe I'll twist this one left again season it to your own taste these are slight little adjustments go ahead and make this one I want to warp and swirl it left and this one I'm going to swirl a bit to the right there we go and then you're going to see here I've made some swirls and I'm going to left click out of it and presto actually you know what I'm going to go ahead and apply it so just click on this check mark to apply and that will apply the warping beauty now we're going to go to the final stroke or the final option to go ahead and make this just look exactly like a van Gogh painting all right final two things we're going to do the first one adjustments and you know where this is going we're going back to the vibrance and we're going to jack the vibrance up to a hundred again we're making this even brighter you see what we're doing here beauty that's the final vibrance adjustment layer and now we're going to go ahead and thicken the strokes and the way we do that again going to make sure the final bottom layer is selected we're going to go ahead and apply a final oil paint layer and how do we do that filter where was it hiding under was it under distort nope it was under stylized wasn't it yeah filter stylized oil paint and presto for the last one though the stylization isn't jacked up to ten we're dropping it all the way down to point nine we want the thick brush stroke appearance so let's go to point nine we're going to put the cleanliness all the way up to nine nine point yeah nine point two we're going to go nine point two nine point three let's go nine point two whatever it doesn't matter for that much the scale is going up to ten and the bristle detail detail is staying at ten and the shine is going to about two now let's click okay and see what we got hey oh there we go guys this is the van go painting that we started with remember we started with this over here oh no this one here never mind we don't even have that one loaded don't even worry about it it was ugly we started with an ugly image as you can remember and we created this out of it guys this is how you create a van go painting from any old image that's it guys thanks for watching tutorial I have a ton more stuff coming up stay tuned


Hello. I want to show the effects of a bad USB cable. So I have a power bank here and here an HCR-F1 with a porta pack. And this cable is actually a bad cable. When I connect this the porta pack starts up and then if I go to capture for example the screen goes black. That is actually because the porta pack here is drawing more power than can go through this bad USB cable and so it shuts down. I have one other cable here, another USB cable. This one is a good one. And as you can see here when I go to capture then the capture works. So the porta pack with the HCR-F continues to work. The problem here is the USB cable.


Bookworks, the Pacific Center for the Book Arts 7th Membership Exhibition, will be on display in the main library's 3rd floor exhibition hall through December 31st. Here are Dominic Riley and John de Merritt to show us some highlights of the exhibit. Hello and welcome once again to the San Francisco Public Library, where we're going to be showing you our latest exhibition here, which is the Pacific Center with Book Arts 7th Biennial Exhibition. I'm Dominic Riley, bookbinder. This is my identical twin sister, John de Merritt. And as you can see, we're wearing our shirts, matching shirts, which commemorate the various aspects of Book Arts. The various and richly diverse variety of book arts in the Bay Area and all over California. Absolutely. John de Merritt, who you may have seen before on this program, is a fine bookbinder, box maker and teacher from Taurus Bookbinder in Berkeley, and he's going to be showing us some of his favorite things from the show. John. And Dominic here from, you're from France, aren't you? No, England. England is a fine binder from England. Working out of his shop and teaching and acting. Oh yes, currently in Berkeley.  Oh yes, currently the Berkeley Reddent Corkation Chalk Circle. Only $34 cheaper, isn't it? Running for how many more weeks? Oh, about seven more weeks, I think. Don't miss it. So, shall we move on to some books? Why not? Let's, we're going to look first of all at this extraordinary piece of book sculpture. Are you feeling hungry yet? I certainly am. Can you hear the ping? Yeah, let's bring it over here. Lunch is ready. This is a book by Berkeley book artist Lisa Koken, working out of West Berkeley, using primarily found objects, as it were. I wonder why she found this in the kitchen. I think she bought that. I don't think she found it. Oh really? Various parts of the book are small jacket with text on it. The text sort of embroidered on it. What does it say? It says, now how was it that I hadn't noticed the door when I rented the apartment?  Oh, I thought it was an anchor. Yeah, I thought it was a hammer. You be the judge. Oh, she's so confusing. And then in the actual toaster is, this might be the text block made out of corrugated cardboard, and it looks like some sort of silk. I have my surgical gloves on, so I can't really feel it. With more of a printed text. Oh, a nondescript color. A nondescript color. Oh, that's what it says. It did actually a very beautiful shade of off-white. This says fear. It's a sort of metal mesh. Attached metal pieces on there. It's extraordinary, isn't it? I don't know. I'm sort of afraid. I've never put anything metal in a toaster.  Is that right? Right. Unless it's made out of cheese. Well, let's move this out of the way and move on to our next book. Yeah, that's great. That's one of the strangest things I've ever seen. I don't know what to make of it. Well, actually, we've got something equally strange coming up here. I'm going to show you this a little bit more traditional, though actually still kind of wacky in its own way. Yeah. This is a book by Steve Woodall, who is our favorite man. Our leader. Yes, he's our leader. He's the president of PCBA and has been for a couple of years. Yeah, I think two years. He's also a cab driver, which is really interesting to keep in the group. He works primarily in Xerox and so-called low tech. Yeah, Xerox and a series of very interesting workshops and teaching, helping people to create art on the Xerox machine, cheap, affordable and versatile art. This is a book. And he gives away all his books. Oh yeah, he does. This is a book that's called Traditional Styles and it's a sort of tribute to the shoe, really. These are letterpress printing done by Alice Johnson at the Paltrude Press in Berkeley.  All computer-generated artwork. It's really a really fantastic, high-low combination of styles. And it just works in terms of how like this, an accordion style. Traditional accordion style books that sort of bound into a codex form. This leather on the back is actually the leather that's used to line shoes, I guess for the for the uppers. For the inside of the shoe. Oh yeah, okay. And the whole thing is tied together with an actual shoelace. It's fabulous. Bound by yours truly, by the way. Oh, bound by John. I completely forgot to plug him. Happens all the time. And it's from Steve's Press, which is called the Same as That Press, which is right here in San Francisco. I can't read it. Hang on. It's upside down. Yeah. Yeah. Maybe you should take it up. Oh, John, wrong camera. This is nothing that appealed to me. I chose to show today. It's an extraordinary piece of sculpture by Sharon Wind, who's a book artist, living in Berkeley. And well, I'm not a critic. She's done some planning. And certainly just telling you what's inside her. Yeah, she has. It's a great thing. She's putting something up for the winner. She certainly is. This is a piece of gold leather. I don't know whether it's been sprayed. I think it's been sprayed gold, actually, although you can buy gold. It's got little marble, glass marbles in the bottom, held together with like gold safety pins. I don't know if you can see right there. Gold safety pins.  It looks like a headband arrived. Oh, that's a good idea. And here, all this text at the back, which is torn out. I think it's been done on the computer, but it's all been torn up and ripped in it. It really doesn't say anything, particularly although I think that's a Walt Whitman poem there. Yeah. It's called Jarring Text. The title has been applied here. And it's a fabulous piece of esoteric artistry. It reminds me, put it together with tweezers. Do you think so? How did she get all that stuff in there? That's what I'm wondering. Because it won't come out. Not far as bad. It reminds me also of the work of Sphere Serendint, who's an other book artist who does sculpture here. He's using sculpture a lot. He does fabulous work. It's a great piece of sculpture and really sort of threatens all those established notions as to what is a book, which is a favourite hobby course of mine. This certainly is a book. It has text and claims to be so. So why not? I think it's great. Right? Yeah, should we move on? And it'll keep the winner. Oh, yeah. Yeah. You can add to it, you know, over the years. Here's a couple of books that are quite interesting. These are more traditional, sort of traditional chat books by a guy named Jeff Conan. Wolf Press makes his own paper. I believe he's a teacher. He teaches the letter press classes at New College of California. Makes his own paper, does all of work himself. And he's also an apprentice at the West Coast Print Center over in Berkeley. And he made this paper. I believe so. Huh. It's great. Two nice little chat books of poems. This one is called Broken Monkeys. It says words rushing where monkeys fear to read. This one's called On Becoming an Angel. And I really like the first line. It says, in the mood for becoming an angel. This is by Francis Butler. Tell us about Francis, John. Francis is one of the founders and proprietors of Polteroo Press along with our good friend Alistair Johnson. Looks like some sort of traditional bathroom tile with grout here. And she's got these ceramic sculptures of different styles of pasta. This is part of a series of pieces on how many other two that I know of. And it's based on a this is going to be for a book show at the Smithsonian based on scientific texts, I believe. And I cannot remember which text this is going to be based on. This is based on a scientific text. Yes. No, not a cookbook. No. Oh. Lasagna. Can't you tell? I can't read. Pané. Bravio. Ziti. I don't know Ziti. Is that this one here? Yeah, I believe so. Oh, okay. No, that's this is you can see. I'm getting hungry. It really is. It's like a bathroom. It's fabulous. And this is made of wood and it's got a huge brass hinge here. And the thing does actually I think where's the time? And here is Alistair's book. Alistair Johnson. Polteroo Press. He's a former president of PCBA, I think. Yeah. And a reasonable, shamelessly self-emoting, nasty black region. Awful man. Pretentious. Yeah. He was at my house last night, actually had a lovely dinner and brought some nice wine. He's also... Did he hug you? Oh, yeah. Oh, yeah, yeah. He's a sort of consummate world music historian, has his own show on KUSF, is it? Yeah. Tuesday nights. Tuesday nights. So tune in. If you're not at the theater seeing me, listen to Alistair. This is I think all the catalyst notebook, which was inspired, he says by an article by Steve Levois in the Ampersand, an article he wrote about file effects. The Ampersand is PCBA's publication. I have it right here. This is our quarterly journal, which is... Which you get quarterly when you join the PCBA. You get it quarterly. That's interesting. And it has some great articles and it's very nicely put together. This is wooden blocks with inlays of wax, which have been carved with a stylus. Actually, he carved it. He told me he carved it with his Swiss Army knife. Oh, he did? Yes. He's such a charlatan. I don't rope. And he just celebrated his 50th birthday, didn't he, recently? So we shouldn't be mean to him. But he's always mean to us. It's also... It takes its inspiration from examples, book blocks of this kind that were found in England and Ireland and are now in museums there. And it's a great... Of course, Romans. This is how Romans would write off along these wax tablets held together with leather thongs, sort of early codex form. It's great. It's chunky. You can wax your thread with it when no one's looking. Yeah. And then the nice thing about it is you can scrub this out and write your own words, which is what Don and I have done. I've written a couple poems of mine on here, actually, because I didn't like what Alice started to put on there. But there we are. Alice Jumpson, Catalyst Notebook. Shall we go on? Yeah. Next piece is our very Georgianic Greenwood. Well-known local, very well-known local calligrapher. She's done this fantastic piece. Another sort of... In the same vein that's of Steve Woodall's book, it's really sort of a Xeroxed photographic image there with some beautiful calligraphy below it, so that the combination... And then she's taken some gold thread and sewn all around it. Can you see that? Yeah, yeah, yeah. Silver thread, I think, John. Silver, excuse me. I'm sort of dyslexic. You are? Yeah. It's just a fantastically simple... Eros is always a story in which lover, beloved, and the difference between them interact, and it's just a bunch of guys really looking inside a car engine. Probably blowing out their carburetor. Yeah. I think she told me that was a 54 Mercury. Oh, really? Yeah. I don't know anything about American cars. Let's see. Levis, Wranglers, Tuftskins. What's that? Georgian is actually going to be my calligraphy teacher soon, when I'm not at the theatre. And there's a little rap that it comes in. Yeah, sort of a chemise that it comes in. That's French. Oh, chemise, yes. That was our word last time, wasn't it? Yeah.  And I know that you want people at home to see it, but I can't do it in the middle. So I try to make it well done. Yeah. It's just a wonderfully simple piece. Beautiful. Our next book is by one of our most influential members, Anna Wolfe. Yeah. Anna's been responsible for teaching many of the people in this exhibition. A major influence in the Bay area on structure, these diamond folds. They're really fantastic. She does a lot of mobiles for children. And I have a wonderful alphabet mobile that she did, which I sent home to my students. She's a very good marbler too. Oh, yeah. All of which I think she teaches classes and she's taught for years and really influenced a lot of people. She deserves a lot of credit. Yeah. This is a great book. A wonderful teacher and influence. You can do lots of things. They're like a double helix. Felix the helix. Yeah. And it really returns, it's amazing. It just returns to its storable shape, just like that. Incredible. Now in contrast to that, we have, what should we look at next? How about the scroll? Yeah. This scroll is by another bookbinder. There's also a member of Handbookbinders, I believe, and her name is Judith Serravin. And this scroll, if we could pull it out. Go in and hold this. Yeah. The earliest book form that we know of. And it's really a simple, gorgeous thing. This is a piece of wood. This is, what is this? This is a piece of paper. Handmade paper. Which she has, looks like it's been printed. Yeah, printed and some illustrations on here. Tiny illustrations of houses, which are really sweet. Yeah. And then there's a piece of text on the back. Yeah, on here. A text. Which looks like automatic writing to me. Yeah. I can't read it.  It's great. It is wonderful. Very cool. Yeah, in case you're wondering where, how we all come together to this show, Dominic is going to say a few words about our organization before we move on to the next piece. The Pacific Center for the Book Arts was founded in 1980. After many years of people trying to get an organization like this together, by a group of professional book artists, calligraphers, fine printers, collectors, conservators, restorers, binders, and so on. Have I left anybody out? No, I think the Bay Area has always had a really rich tradition of book arts printers. You know, the Pressman's Union was founded here, the fine press movement in the 40s and 50s, and then all sort of culminated in the PCBA being founded. And they established to foster the promotion of book arts, education, the craft of the book. And we have, every two years, we have an exhibition and we publish the Ampersand, which is the quarterly journal, and every month we publish a small newsletter called Etcetera, which has information about events, workshops, items available for sale, that kind of thing. It's a great place to pick up teaching presses and equipment, generally. So, let's move on. This is a book by local printmaker, Derek Oropallo. Done, I think the printmaking was done at Eric's shop. Eric did the letter press. He sort of is, I think these were prints made from, I don't know where the original images were from, but she's done some prints of them, and I think these are all sort of wallpaper patterns that she's printed on the opposite side with letter press. I think these were faces from a high school yearbook, actually. Yeah. I think that's what they were. Yeah, I think you're right, actually. And then the beautiful binding was done by Peggy Gotthold, another binder from Berkeley, and she's also the binder at Arion Press. Right. So, a lush book by local artist. These were soup screen prints. The images of the face. Yeah, I think so. All these, all these look smooth. Now, they're monoprints. Oh, okay. Yeah, it's great. And I love the colors of the fabric on the binding. This is a great book class. This is a gorgeous fabric. This book class, I believe, are from Brian Johnson. Good. And another accordion binding that will fold up very neatly. And it comes with a box, does it, John? No, it doesn't. Oh, just like that. I believe so. It's lovely. Okay, good. Wonderful book by a member of Indigo Somme from Berkeley. The name of our press is Bichibuda Press. Howard's and Hoover's, a sample book of Chinese-American male names. Made like a sort of a standard brand's paint sample. You want to read some of the names? Yeah. Garrett, Willden. Right. Constantine. Yeah. Letterpress printed hand-colored with watercolors. And then there's laser printed text on, looks like mylar. I remember when Nelson was born, I was standing by grandma's buffet where she puts up all the family photos. I believe these are personal recollections of perhaps some of the people. Great. Does it go together like this? Yeah, like a sample. It's like a... There it is. These three book objects are by Don Meyer. They're called Mymedia. This press is named. Let me press. They're called in order, although I don't know quite which order here, ambiguous contradiction, a paradigm of uncertainty. How does one know? How does one tell? And revealed defenses relieved. They're really simple. Yeah. Wooden blocks held together with branches and hinges. Or in this case, aluminum. And these weird... Again, whether these have been found or not, I presume they are. They're some kind of gratings or something. What would you say? Yeah, I don't know. They look like something that he made, I think. Who knows? The back here, they have a strange sort of acoustic effect. They have an interesting tactile resonance to them. An image here of a fur cone. This one says mending plate, not for trusses. Ah, that's a found object, I'd say. Yes. This is gorgeous. This is a piece of plexiglass enclosed inside it in this compartment. A dried... It looks like a little rose, I'd say. Yeah. But here's the image of it for the black and white photograph. And the versatile. It really is, eh? Yeah. A cute little image. And a little chunky book hearts question. The back, the whole thing, you see these screws are held in with these little... Do you call these wing nuts? Yeah. Yeah. Isn't that great? Good. Okay, we have... All right. Whose book is this? Is this your book? No, no, that's my tissue. It's not cold. The book by Gabrielle A. Ella. And Wattelia. A wonderful sculptural book. I don't know if the camera can get it, but it's almost like an adobe or some sort of brick material.  It's a beautiful piece. It has a wonderful tactile feel. I wish I could feel it. Yeah. This book is called... Well, can you read that? You're better at reading space, right? Me, Ultima Adios. I'll ask it by. It's a tribute to Jose Rizal, who was a Filipino national hero. And the book opens up in a great accordion style like this. It just goes on and on and on. His letterpress printed this onto a beautiful paper. And it's burned a hole in each page. The hole gets bigger and bigger. Yeah. And if you can fold this back up again. We can see the hole. This is a wonderfully finished piece. The hole ends up with a sort of faux medallion that he's inlayed into here, with a medallion head representing Rizal there. Again, mounted on this sort of plinth. It's a beautiful piece of art. It's a adobe surface to it. Yeah. Wonderful. And it goes back inside the box. Like so. To me, the journalist looks like a prison. Yeah, it does. It's very lightweight, too. And it looks a lot heavier than it is. Yeah. It's really one of the finer pieces of the show, I think. Yeah, I think so. That's about it for what we have on the table. We've certainly only shown you a small fraction of what is in our show. There's over. There's more? Oh, yeah. Oh, shoes. If you go out in the hallway, if you come down to the San Francisco Public Library, to the third floor, on the way to the Special Collections, the show is up through the end of December. There's more than 150 books in the show, except the PCBA membership is this is really one of their finer shows. It makes a happy book fun. There's good writing books. Oh, newspapers kind of. Quick. Yeah, there's really far and away one of the best bookshows a year in my opinion. So make sure you come here and see the library. It's always very generous about putting the show on for us. Yeah. So, from John de Merritt. And Dominic Ryans. Goodbye from the San Francisco Public Library, and we'll see you soon, I'm sure. It's about 12 o'clock. I'm kind of hungry. Yeah, you got some lunch? Yeah. What have we got? Toast? Here, I think it'd be good with some pickles. Oh, okay. I've got gold pickle, marbled pickle, and... A sprinkle of a little sand on. Okay, yeah, it's good.