The way the Angels have been going here, can they keep pace with this Houston team and how important is this early matchup in April? I think for just the Angels to feel good about themselves, they have to compete well. They've had a lot of wins against teams that, you know, the A's and teams that probably aren't going to be that strong. They just had a heck of a series with the Red Sox and it didn't go well for them. So this is a chance to, okay, let's regroup, let's try and show ourselves. Pitching is going to be the issue all year long. They're great on defense. The offense is coming around. They're swinging the bats well. But are they going to have enough pitching? I mean, Garrett Richards has been good.  I agree. They're pitching. It's going to be their starting pitching. Their bullpen is already thrown the most innings in baseball. Mike Socia is wearing out a path to the mound every time because the starting pitchers aren't getting them deep, getting them deep enough into the game. So for me, can Skag continue the way he started? Richards stay healthy. Tropiano, Tani is probably the key to their whole season. What do you think about him? Oh, Tani, I mean, so far so good. But again, he faced the A's, which is a good matchup. They strike out a lot. Then he faced a Red Sox team that laid off his splitter and they pounded him pretty good until he had the blister. So the jury's out on Tani. Is he something to watch and something cool, a good story? Yeah, he's a good story. But once the league sees him, once he starts making adjustments, once they stop swinging at the splitter, we'll see where he's at. And as a hitter, yeah, I'll give him credit. He hit some home runs early. But again, first time through, he didn't show anything in spring training. It's a whole new world. Once you get through it, people have tape. They see you. They make adjustments. This is the big league. This is the best players in the world. They're going to make adjustments. He can hit 350 with a home run every time he goes up there. Yeah, although the Angels have hit more home runs than anyone else, at least coming into the night, they led the majors at about the 20 game mark. He had five strikeouts, walked three, some 89 pitches. That's a professional high for him. Number of pitches, his first start, and somebody you've been keeping an eye on closely in the Dodger organization. Yeah, with him in spring training this year and had an opportunity to watch him pitch. Kids got electric stuff. You know, he's not a real big guy, but he is just, it's fast twitch, throwing 95 to 98 curveball and changeup are coming along. Needs to be a bit more pitch efficient. That'll come. The kid probably, his best attribute is he competes. I mean, he will, he will just continue to battle, battle, battle.   He's both. And he is going to be a star for this, this organization. Yeah. So when you're the catcher, the experience behind the plate and you get a guy like that out there for the first time, AJ, how do you work with him? You're trying to treat it the same. Most of the time, Grandal, you know, as Monday, Grandal, the catcher, I'm sure caught him in spring training. Maybe Eric caught him in spring training as much as he knows about him. But I didn't catch him. You didn't? I would love to have seen that.  You got to get them through the first inning. You see, you got the bases loaded in the first inning. They got them through. And after that, he cruised. Why the nerves, the adrenaline, everything, you say, oh, you don't get nervous. Oh, you get nervous.  So he got them through it. Then he settled down, gave him five. What is getting him through it? Like, what do you do to get him through? Use your six mound visits if you have to. And you are limited. You are.  You try to make him as comfortable as possible. You pat him on the back and say, hey, you know, it's OK, Walker. You know, we'll get through this, whatever it takes to get him through the first inning, get him to calm down, get the nerves, get the heart rate to slow to normal. And they did that and he cruised for five innings. It worked well against the Marlins. The tentative plan, give him a couple of starts. It was the Marlins. Nothing against the Marlins, but with the Marlins. I think the Dodgers might have had that part of the plan. Derek Jeter, don't get into that with him. The Marlins are not tanking. OK, and if you need a definition, we'll Google it. With the guys for our final pitch, what's on your mind? That home run that was just. Holy jeez, that was criss alley. That looked like a Stanton home run. God, yeah, talking about Stanton. Giancarlo Stanton, big night tonight in New York. Gonna get all get started just with that little squibber through the shift and then bam. This thing is not a little squibber. Four for four tonight. He's gonna sleep. He's gonna feel good. Look at the MVP all the town in the world just needs a little bit of success. And how about for you? The Angels win tonight. Skaggs beats Cole. They have Otani going tomorrow against Morton. They needed to win this game because of Verlander and Morton the next two days. But the Angels are chasing the World Series Champions, the Astros. They came out tonight, proved it, matched their pitching. Now they're set up for the next couple of days. I don't have a final pitch. So it's a warmup final pitch. Walker Bueller pitching well, his major league debut as a starter for the Dodgers. Game not over, but he's put the Dodgers in position to win. Don Trovellis joins AJ and me tomorrow night. Eric, you get the evening off. Thanks for watching. Love it Easter. Have help me whip around. The heckling must continue.


Being a gigantic fan of grenades, I've always in reality had a grenade build, I could switch to Unzane if I ever wanted to just have a little fun and spam those bad boys out. Since Mayhem 4 hit, Zane Grenade builds become a little more scarce. I've been building and testing for ages though trying to create a Zane grenade build, which can compete with the generic Zane build we see optimizing the scene dead and making places like the Malawan raid and the slaughter shaft a walk in the park. Today I bring in this very build people. How's it going guys my name's DPJ and today I bring in another BR3 video, if you do enjoy it leaving a like really helps out and subscribe if you want to see more. So this build I've been playing around with for absolutely ages, switching this up, switching that up, making adjustments here and there just to try and make it a viable build for places like the Malawan raid and the slaughter shaft, as because at the end of the day if you can currently survive and conquer such places with any build you have a decent build on your hands it's as simple as that. Now over the past month or so I've made many changes to this grenade build and this was mainly due to the fact of basically thinking I've perfected it and then just going into the Malawan raid or the slaughter shaft and getting absolutely mounted. As I mean creating a Zane build in which you can spam unlimited grenades is the easy part but finding items and building up a random to survive the countless enemies popping while you fire back with grenades and any decent weapon and at the same time progressing through said enemies was the goal I wanted and it isn't as easy as you would think. I also wanted to create this build with a purpose in mind which didn't limit people, that purpose was that this build can be used with a multitude of grenades, not just a select few. This build also isn't built around any one particular element type either, you can add your own touch there, you can also add your own touch with any particular artifact, as long as said artifact does have a couple of skills needed which I'll mention in a second. So this build, let's get into it people. Firstly the shield, here we have the stupgap, an ornament here isn't used but you find in one which would help this build out would be better obviously. On your stupgap you want to have the prefix of health charge, anything calcium is a bonus. Now I tested many many shields with this build and I can stray upstate, this was the best within that slot shaft and melloman raid. Another shield I wanted to try with this build was the recoil, but this isn't anywhere near as effective in keeping you on your feet as the stupgap. I tried many countless of the shields people, I tried countless other shields but nothing was doing the job like the stupgap does, so this is a must people I will tell you. The stupgap prefix comes in so handy also as the 5 seconds is quite a time as you can within this time reach and your shield or start regen your shield or reload the weapon you are using and regen the health using the skill tree perks we have selected here. So the stupgap is super efficient in more than just one area and like I said over the weeks probably even months of me testing this since mayhem 4 dropped, I can assure you that the stupgap is the best I used. Class mod here is obviously the scene dead, all scene deads do the job for sure but obviously with a grenade build you want those skills that help you out. Plus 5 grenades is a great option and obviously extra grenade damage wouldn't go by miss either. You can also get grenade radius having all 3 on the same scene dead would be absolutely amazing the best option out there in my opinion but any one of these grenade skills on a scene dead would be great so don't stress trying to search for a particular one. Now the artifact here like I said is where you can in reality use one of your choice, for me personally I'll choose the snowdrift but I ain't lucky enough to have it with said skills on them as these are a must. While the one you want in reality is elemental resistance this is the one that must be on your artifact. Anything else again here is a bonus as long as that elemental resistance is there the artifact and the other two skills can be anything you desire or feel would add to said grenade build and your take on it. I mean yes I could name you a multitude of artifacts which would add to this build which would take away from this build but at the end of the day I want this to be customisable for you and that's the way I've created it. Grenade here like I said is entirely up to you, there are many great grenades in this game and it's for this reason I didn't want to limit this build to any particular one. I know there are people out there that use the firestorm, I know there are people out there that use the surge, I know there are people out there that like to use the hex, I know there are people out there that like to use epic variants, I mean this game is full of grenades so I didn't want to limit this build to any particular one or a set few. What you can do though is look for skills on the artifact like a certain elemental damage and pair that with the grenade you choose.  You know when I said grenade though I would say look out for the one you can see on the screen now on grenade thrown, weapon, grenade and action skill damage are increased by 25% for 6 seconds. This within this grenade build would be a constant flow of additional damage people so I'd probably say go for this one or aim to get this one. So let's get onto the build and start with the skill tree in which we use its action skill and that is the barrier. 5 points straight into ready for action giving us basically 30% additional bonuses and shield recharging which is important. We then have 2 points into rise to the occasion and 3 points into stiff upper lip. These 3 perks are mainly for defensive purposes obviously but all play a giant role in keeping you on your feet for sure. We then have confident competence selected, again barrier is what we use with the arguments of nanites or some shite which again helps defensive wise as well as all rounds selected so you're protected from all sides. Next up we have the sentinel skill tree, 5 points into violent speed and 4 points into violent momentum. Speed equals damage folks. Then 5 points into salvation, life story is super important here. We then have death followers close selected with then 5 points into violent violence and 2 points into good misfortune. Besides salvation within the skill tree, all these perks selected are intended to help you lay down that damage while throwing grenades at the same time. So onto a digiclon, 5 points into synchronicity, 3 points into prey and a further 5 points into dunnybrook. Dunnybrook and sink are an amazing pairing here for extra damage. We then have 2 points into duct tape mud, this obviously means you sometimes shoot grenades. Grenade shot though also applies, say grenade's anointment effect, keep that in mind.  This is thanks to that scene dead mud obviously. Now worth state this entire build, I created so you could survive within the slaughter shaft and in matter when read, in my opinion the two hardest places to play in this game right now mayhem 4. And if you can survive these places you can survive any place, so that was my point behind this. I mean yes this build could be way more powerful, skill tree wise, and even artifact shield and so forth, but that isn't the point of this build. The point of this build is a grenade build, a grenade spamming build for zayn, which allows you to play places like the slaughter shaft and the matter when read, and be efficient in doing so. And let's play it like this, if you took the chain zayn build or the winter soldier build to arguably the best builds in this game, take off an action skill and apply a grenade mud to it, you will get absolutely marted within the slaughter shaft and the matter when read. Those builds are set up specifically to lay down that damage. With this build yes you can lay down amazing damage, but obviously in order to use grenades, which is the point of this build you have to take an action skill off, you can't use two action skills. So I've built this up with defense in mind, obviously using the barrier, but also keeping in mind damage output is also very important, and this in my opinion is the best of both worlds, a great backup build for you when you want to spam those grenades. Now the weapons here are entirely up to you, obviously the more powerful the weapons are, such as the lob, the sequel to redistribute and so forth, they will add to this build, but experiment people. Anonymous again are down to the user, personally within the footage you can see in the background, the Anonymous unsaid weapons are not coming into effect with this build. So here you will add even more to this build, that work with barrier and so on. And there we have it people, an amazing grenade build, which is super efficient within mayhem 4, within whatever challenges you decide to jump into, raid, slaughter shaft, whatever. So that is that, now I haven't even named this build, I'm just going to call it dpj's ultimate zane grenade build, I mean yes I could come up with something better, but it's a grenade build, it's ultimate, it's for mayhem 4 and it's for zane, so yes, that's what it is. On that note we have commented at the end of the video, if you guys enjoyed it, leaving a like really helps out, if you're new around here and want to see more boardlines be sure to subscribe and if you never want to miss a video upload, you can turn notifications on by hitting that bell button. But guys thanks as always for stopping by, hopefully you enjoyed the video and hopefully I will see you on that next, one.


Hello, this is a review of The Fourth Turning with the cycles of history tell us about America's next rendezvous with Destiny by William Strauss and Neil Howe. Not too old of a book, it was published in 1997, about 20 years ago, and it's a book about cycles. And while you're listening to this, I want you to pull up the two articles that I have saved in the comment section, just so I don't have to put it on the screen itself. In general, I don't like to read history books because mostly everything is the art of the story. Some of these history books have fake news or fake history attached to them. Some of the books that I do recommend are Guns, Germs, and Steel, A People's History of the United States, and A Course Sapiens, due to the story itself, which will even help you understand why I don't really review history books or even read them. A turning is a salshamu that changes. And obviously by the title, it means the fourth turning, which is a crisis. So the first, second, third, and fourth would be in the order of a high, an awakening, an unraveling, and a crisis right at the end. Also in the book, you try to put sequences and characteristics of certain times and the people as individuals in the terms of the archetypes, heroes, prophets, artists, and nomads. What is the fourth turning? It's a crisis that scares and there's going to be hard times. Some examples would be 1776, the Civil War, and as a worldly view as in not so much post-war, but a crisis that happens where it creates a cycle of the four turns. Some others examples would be the Great Depression, the World War II, which is the cycle we are on now, which you see the baby boomers coming and rising with the economy flexing good times, and they had the best family generational. And then during this past 30, 40 years, we have the Gen X, which is the 13th generation. He calls them 13ers and the millennials who are in this somewhat last cycle, it looks like. And a new word that I found out was ceculum. It compromises history, seasonal rhythm of growth, maturation, entropy, and destruction. And first, I want to go through what I disliked and like about this book. So what I disliked is some of the overuse of the nomad, prophet, artist, hero can get really technical jargon, where it's just too much and it can create rational, rational cycles. And it's very hard to nitpick what he says and some of the graphs and diagrams, especially if you look at the links that I have attached, it can be a little bit confusing, even after the fact. But at least you have a gist of what he's talking about and trying to put things and pigeonhole things into a certain way. And it can be hard to understand, however poetic and creative it could be, the explanation is very vague. And the prophet is used so much that it can be very confusing about what it really means. What does this prophet, these type of leaders, some type of vision comes out of the crisis. And I found it very confusing. Also, he mentions Generation X, which is the 13ers. It's hard to, maybe he just wanted to call it that, but typically everybody knows this Gen X, the 13th generation. Also, some politicians will use this book for tactics. Some likes about this book is it incorporates ancient wisdom. I found this book to be a must read and some modern people will fail to ignore that this book is very organized and well researched. Even if it's somewhat confusing, you could read this a few times and ping off some of the great quotes people said and some of the errors that we don't understand. You could read other books that will help you understand some of these dark times as well as the boom times. And it reminds me of Robert Greene's books. It took a ton of time to write this book. Also, you can learn how, especially during the unraveling time that you can tech can be control things and delay the cycles or even mass them because we don't want to know that the crisis is coming. The storm type of surge, the unraveling, then the crisis will come. I do like that this book is not about facts and opinions and not put things as a post war like many other books. It has some depth to it. There is a sentiment, there's a season and understand things into a circular fashion. Some of the other ways, the old ancient ways that are native American, whether they be Greek, that we didn't have all these facts and all this information. We understand things through a cycle, a circle, not just a linear way. And it incorporates nature and there's no lines of nature. It's very hard to understand that. And there's an awakening just like the sleeping elephant. And this book in general is great for Americans to read, as well as anyone interested in America and how it regenerates itself. And the most important thing I think for people to understand and to remember hammer in is things come in cycles, a circular fashion. There is no linear logical way. And here's a good quote to understand things how everybody's connected. This kid and grandma quote. In other words, likened to be like Mike and some of the cycles that can happen during your own life is the childhood to adulthood to middle age and to old geriatric. And there's a child to an adult is a ripening a farming up and to pass on that old wisdom, helping out the next generation. As these two have written a generation book as well. Remember, there's a high and awakening and a ravelling and then a crisis. And some of these, when you go outside and not to stay out in the city, you'll understand things. So as a tides and ebb and flow, the tides, a seasonal factor, a seasonal mood that captures these historical times, brought these moods of almost like optimism or pessimism or a bull versus bear. And I found the most important generation to really research is the baby boomer generation, the good times that happened. There's quite a big section on the boomer era, as well as the generation X and the millennial generation. And of course, this book was written in 1997, so it didn't really know about what's happened in the past 20 years. And if someone doesn't matter what he predicts, it matters that this generation is studied. And you can have the self-awareness to look at yourself and your generation by expanding in mind by not so much reading, but traveling and understanding and connecting with other people. So this boomer generation is the second turning from 1964 to 84. So they had the JFK death, the Berkeley Free Speech Movement. There was a calm of understanding and respect. They had long hair coming out, the tech industry was booming. There was the moon landing, the wood stock, very interesting era and very upswing era. Other than they had some of the assassinations with MLK and some of the Kennedys, as well as the Vietnam War, which kind of set up a different type of hippie era, especially affects me because I'm from the Bay Area. And I do like to study, especially people that are older, also as a silent generation or people that went to war, but to connect with people because the human condition doesn't change. Oh right, we're pretty much in my era. So this is the 1984 to 2005 and these next eight years that he wanted to predict that these are like the culture wars, the unraveling. Pretty decent era to be a part of. There was, you know, pretty good business. There was debt, there's shadow begging, there's leverage debt with the 2008 crisis, the financial crisis. And there could be shallow actions, inconspicuous consumption. And you could see that some people are sick of feminism and as well as just rights in general, because these are some of these rights can be privileges. It's a very vague mystery in time. One of these quotes is to stay at home moms begin wearing buttons that are red, stop at one, none is fun and Jesus was an only child. The reasons for this sudden turn included birth control pills, an ascent, feminism and a new society, white hostility toward children. And you see the sentence like the future's children. And now you can see some of the unraveling that is happening where kids are not really cared for or it's not a priority. People are into their own world, almost almost abandonment. And also, I think technology has really changed this generation with the phone. It's insane how everything is connected, yet not connected, as well as the time to save and how everything maxes out, the Moore's law and how tech in like 40 times itself, the speed of light as well as subtle communication. And this next section is more of a managed first section because after reading this book, you can see how feminism has like an upcycle during some of these times, especially the awakening era where you'll have utopia and civic ideals. You will have the institutions be more important than the individuals where they're very trustworthy. They run their course and you can see some of the college educated females of the generation, a cycle of doom and gloom. It changes the sentiment like what's important, having a baby and kid or trying to get degrees and having your career being super important. And you can see during certain times and explains in this book some of the feminist movements that it kind of worked itself even more. They grab more and more rights, more and more energy. And then it slows down after the crisis because when a crisis hits, it's really almost survival that's going to happen. In other words, you see the nomad to really shine one of the archetypes. You're not a hero.  The males become nomads because if they do choose that independent lifestyle, then they're going to be that small minority that will have that independence. And we'll understand that versus everybody else around them that you'll see a death of the old corrupt establishment. Would you see institutions not being trustworthy? We're going to create our own or they suddenly become corrupt, the building ages. And it becomes just something that wants to survive where the small and mobile tribes, the small and mobile businesses will thrive. The truth will go into those and hopefully you do the work and read yourself. I know not all my readers read the books and just maybe just listen to reviews. And here's a good quote about how families aren't really important. There's no family formation. There's a killing's lack of fathers. They promote the gay and transgender lifestyle versus the masculinity and virtues itself, of course, attached with vices as well. And as noted earlier, you'll see children being hated, even though children are the future. As you see in the cycle, that old wisdom is that is that quote that I showed earlier, how the generations pass on. And it's obvious I'm taking a direct path that the nomad is revealing. It's a distressed institutions. You go to lung, you don't care about me. I'm going to do my own thing, as you'll see many other males in certain areas taking this type of lifestyle. And it's individualism from the corrupt institutions that were once good. And then once this crisis is over, when the storm surge happens and the crisis ends, there will be the heroes to rise up. And then it will create more of a not individuals, but people don't really care about being invincible. If they could be themselves or they're not being attacked, where they have to isolate themselves from dangers.  So during after the crisis, we have nowhere else to go but up if we work together and understand that it's a group of individuals versus the mob or clown world. As well as chaos is coming, as you can see the dynamic of the Tao De Ching is chaos and order. And it's coming in and it's welcoming and to understand generations connected. There's a seasons and there's a cycle after the crisis. We will truly work together. There's no worries. It's it's just going to be nomadic, artistic creators in the forefront. And will you prepare for the storm surge coming towards you? Let me know in the comments below the crisis is a natural event. And thanks for listening.


In previous videos we looked at how changing magnetic flux through a closed loop or a coil induces a certain amount of emf or current. In this video let's predict if certain amount of emf is generated for a bunch of cases where magnetic flux is changing. Now magnetic flux is BA cos theta and we can change the magnetic flux through a closed loop if we change the magnetic field strength through it or the area of the coil or the angle between the magnetic field and the area vector and in this video we will be looking at examples for each of them. So let's begin. Let's look at the first case of changing magnetic field strength through a loop. Now for this we have a straight current carrying wire and a square loop with a lamp attached to it situated right next to it. Now in our previous videos we talked about how to figure out the magnetic field of a current carrying wire and for this we used the right hand grip rule. So for instance if the current is going in the upward direction my thumb should be pointing in that direction and the curl of my fingers it gives the direction of the magnetic field. So if the current is going upwards the magnetic field would be concentric circles just like this and also notice how as you go further away from the wire the density of the magnetic field lines decreases. That means the strength of the magnetic field is decreasing as you go further away. There is more strength near the wire and the strength decreases as you go further away. Now if we try and move this square loop with the lamp it will try and move this to the right. I am sure you can see that there will be some change in the magnetic flux. That is because at this moment there is some flux that is going through it but if we move it that flux would change because the strength of the magnetic field is changing as you go further away from the wire and if the flux is changing that should induce some EMF in the loop which should light up the lamp and that should look just like this. And notice how the bulb stops glowing when we stop moving the loop that is because then we are not changing the magnetic flux through the loop and if there is no change in magnetic flux there is no induced EMF and therefore we do not see the bulb glowing. Now there are some other ways to change the strength of the magnetic field through this loop. Let's say if we increase the current in this fire that would generate magnetic field lines with greater strength and in that case we won't even have to move the loop because if we kept on increasing the current in the wire that will keep on producing stronger and stronger magnetic field lines and that will keep on changing the flux through this loop. What would happen if we move this loop up or down? In that case first let's try and understand how the field lines look like for this straight fire. So we can see that they are concentric circles but they are also on top of each other. So if I add one more layer it would be somewhat like this. Of course there would be layer right next to it but we can't like it's difficult to draw that so you could imagine there's a layer right below it and we can draw one more layer which let's say it's even below that. Now if we move this loop down, if we move it down like this then notice something that is not changing is the strength of the magnetic field that is passing through the loop. That is not really changing even if you moved it above that strength is not really changing and like you could imagine some more field lines right in between these two they're right next to each other so you'll have, you continuously have field lines going through the square loop but the strength of them is not changing that is because the space between the magnetic field lines or the density of the magnetic field lines is not changing when you move the loop up or down. So if the strength of the magnetic field doesn't change through the loop that means the magnetic flux isn't changing and that means there won't be any induced GMF and we won't see the bulb glow just like how we aren't really seeing it glow when we move it up and down. Now let's look at the second case where we will change the area of the loop and for this one we have a region of magnetic field, a region of uniform magnetic field and there's a coil which is kept right at the center of it. Let's attach a lamp to it as well. Now we will try and increase the area of this coil and from what we know about magnetic flux which is phi equals to B multiplied by A the area multiplied by cos theta from what we can see over here if we can increase the area of the coil if we increase this area that will increase the number of magnetic field lines that are passing through that area. So that should increase the magnetic flux. So if the magnetic flux is changing then we should see some induced GMF in the form of the bulb glowing. So let's do that. Let's try and increase the area of this coil and yes we can see the bulb glowing in this one. Notice how when we stopped increasing the area of the coil the bulb also stopped glowing because then even though there's some magnetic flux that is going through the coil at this very instant there is no change in magnetic flux and that change only gives rise to some GMF and some current. Let's continue this example further. Let's keep on increasing the area of this coil and see what happens. Now if we further increase the area of this coil what do you think will happen? Will you see the bulb glow? Will there be any induced GMF for current? Why don't you pause the video and think about it? All right. So from what we know about magnetic flux which is BA cos theta if we increase the area if we increase the area of the loop we get more magnetic flux through that loop. So it seems that upon increasing the area we should get more magnetic flux and there should be some change in the magnetic flux. So we should eventually we should finally see the bulb glow. So let's see if that is happening over here. Now when we increase the area we do not really see anything happening. How can that be? Now for this let's go back to the very basic definition of flux. Flux is the amount of something that passes through a surface. Now this something could either be electric field lines if you're talking about electric flux. Over here they are magnetic field lines because we are talking about magnetic flux. Now notice even if we increase the area of the coil the number of magnetic field lines that are passing through this coil remain the same. They were 1, 2, 3, 4, 5, 6, they were 12 magnetic field lines to begin with and even after increasing the area of the coil further there are still 12 magnetic field lines that are passing through it. So the amount of magnetic field lines or the number of magnetic field lines passing through the surface remain the same. So this area in the magnetic flux relation is the area through which the magnetic field lines are passing through or the magnetic field lines are intersecting with or linked with. So even though the area of the coil is increasing the area in this equation is not increasing because the area in this equation is the area that the magnetic field lines are linked with or passing through and that is a small area over here. Therefore the flux is not changing. So now if the flux doesn't change there would be any induced DMF and we do not see the bulb glowing. Now let's look at the last case where we will change the angle. So for this one let's take a coil and three axis of rotation you have y, x and z and let's attach a lamp so that we know if there is some EMF generated or not and the magnetic field lines are vertically downwards. So now first let's try and rotate this coil about the z axis. Now in this case in order to figure out if the magnetic flux is changing let's try and visualize this. Let's try and visualize how the coil would look like when it starts rotating about the z axis. So let's say we are standing right over here. This is our eye and we are looking at the coil from the side. This is how we are viewing it. So from this direction the magnetic field lines would just be vertically downwards. They would remain vertically downwards and the coil. The coil would seem to be in a horizontal direction like this. So at this point you can see that the flux through the coil is like it's just simply equal to b multiplied by a, the magnitude of the magnetic field strength and the area of the coil whatever the area might be. And if you think about the angle between the magnetic field and the area vector over here that would either be 0 degrees or 180 degrees because if we look at the area vector we can take the area vector to be just like this vertically down or vertically up. In the first case the angle is 0 degrees the angle between the green, the magnetic field line and the yellow arrow vector and in the second case the angle is 180 degrees. In either case the magnitude of cos theta would be 1. So the flux in this case would just be b a. Now let's say the coil has rotated by 90 degrees and you are still looking at the coil from the side. So how will it look like then? Let's draw the magnetic field lines. When the coil is rotated by 90 degrees it would just be vertical. So I'm just drawing a straight line. That is what you will see. And to begin with the lamp was kind of like this. This is this was a lamp and at the end the lamp is at the top. This is a lamp. So now the flux would just be 0 because there are no magnetic field lines which are passing through the coil. There is no flux passing through the coil. So we saw that magnetic flux went from something like a maximum b a to 0. So there is some change in flux happening as the coil is rotating about the z axis. And if there is some change in flux there should be induced emf. There should be induced current and the bulb should be glowing. So let's see if that is happening. Yes, that is what happens. Now let's rotate the coil about the x axis. So we will adopt a similar approach. We will try and look at the coil from a side. So let's pick this side now. Let's say this is where we are standing and this is how we are seeing the coil from from the side. So the magnetic field lines would still be vertically down and to begin with the coil would seem to us to be in in a horizontal position. And if we look at the coil from this side we won't be able to see the bulb really because the bulb would be on the other side. So the flux at this moment similar to how it was with the case of that axis to begin with the flux over here would just be b multiplied by the area. And if we think about the angle the angle could either be 0 degrees or 180 degrees and in either case the magnitude would come out to be as one. So cos theta is just one. Now let's say that the coil has rotated by 90 degrees. So what will we see then? Again the magnetic field lines are vertically down and the coil would become vertical. So I'm drawing that I'm showing that by a vertical line like this. Now over here you can again see that there is no flux the flux would just be zero because there are no magnetic field lines passing through the coil. So there is no magnetic flux and over here we also saw that the flux went from something like a maximum B a to 0. So there is some change in magnetic flux that is occurring over here and when there is a change there will be some induced DMF and we should see the bulb light. So let's see how that looks like. Yes, this is how it looks like the bulb is glowing and there is some induced DMF. Now the last variation is if you rotate this coil about the y-axis and I'm sure you can see that if we do that if we rotate the coil about the y-axis there won't be any change in the magnetic flux through the coil because we are not changing any angle between the magnetic field and the area vector and we aren't changing the area that is linked with the magnetic field and of course we aren't changing the magnitude of the magnetic field itself. So none of the factors are really changing if we rotate the coil about the y-axis and you can try and visualize that as well. If we do rotate it about the y-axis this lamp would be in this position after some time then it would be over here then it would be over here then back again to its original position and you can see that at all those instance everything remained the same the magnetic field strength to the coil the area that is linked with the magnetic field and of course the angle between the magnetic field and the area vector didn't change at all. So we won't see the lamp lighting in this case because there is no change in magnetic flux no net change in magnetic flux and therefore no induced emf or current. In this video we looked at a bunch of situations where changing magnetic flux led to some induced emf and particularly we looked at three types of cases the first one was when we changed the magnetic field strength through a loop and we could either move the loop in that case or if we could increase the current to change the magnetic field strength through the loop then we looked at changing the area that is linked with magnetic field and finally rotating the coil about some axis which changes the angle between the magnetic field and the area vector of the loop.


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Hey guys and welcome to Monet Café, this is Susan Jenkins and I am so excited. I don't normally share my face, you know that from my videos and it's because I don't like to wear makeup but you guys don't care because you're family but I just wanted to personally thank everyone who has joined the Facebook page for Monet Café. It has blessed me more than I can say and also what is so neat is it's exactly what I had hoped for that you guys would start helping each other and sharing amongst each other and there is some amazing art on there. I'm blown away by your talent and I love the new people asking questions. Absolutely put art on there and ask for critiques, just share your art and just keep doing what you're doing because it's awesome. But today I actually got a great question on the Facebook channel which was if I could please share a little bit about the difference between warm and cool colors. A lot of times I'm doing a video and I just throw that out there. This is a warm green or cool green and that's a great question. I remember the exact same question. All these things you ask is exactly what I was wondering when I first started. So I thought today would be a good opportunity to do this. So this is going to be a Monet Café quick tip and I'm going to take some of my pastels I have here. I have some Terry Ludwig pastels and these are the greens. They actually look a little blue but it's a great opportunity to show the differences in cool and warm colors. So that's what we're going to be doing today and I hope you learned something and again thank you so much. Anybody new here who wants to join our Facebook page, you just find Monet Café on Facebook. It's not a page, it's a closed group so you will have to ask to join. I'll try to remember to put the link in the about section of this video. Alright guys, pardon my little ear things here but my microphone makes you hear me better. Alright let's do it. Okay guys, so here we go for a Monet Café quick tip. I thought I'd just walk into my studio here and kind of show you warts and all because it is a mess right now but this is where I work and it's a beautiful day here in Tampa, Florida. I've got a nice view here outside my window which is nice and this is where my little sanctuary is and I love to hear about you guys and where you find your little places to escape and do art. For many years I worked just out of a little corner of my kitchen so wherever you can find your little happy place to create. So what we're doing today is I'm going to talk about the difference between warm colors and cool colors and it's a great opportunity with this set of Terry Ludwig Cool Greens. I love this set. And I thought okay I'm going to integrate them into my pastel boxes. This is my system and if you want more on how to store your pastels or how to arrange your pastel palette, you can see a video that I did on pastel storage tips. I'll try to share that link as well. But this video is more just about the difference between warm colors and cool colors. What does that mean? How do you tell? And it's really not all that hard but you do get a better eye for it as you work and as you go on. Some people you know just like all kinds of different gifts that people have you may have a strength and one thing that someone else doesn't. You may have an eye for composition. You just may naturally see good composition and create that. Some people may have an eye for color and value. They may just easily see color and value and some may have an eye for warm and cool colors. And I have the reason I don't have to have my pastels arranged so perfectly. I do think I'm going to divide my boxes into four sections. I kind of have them grouped a little bit. But the reason I'm not that fussy about it is because that happens to be my gift is I just see value very easy and I see color very easily. So you know everybody's got their different things. So I have to work real hard at other things that aren't my gift. So if this is not your gift seeing warm and cool tones then this is going to be a great video for you. Now what I want to show right here is this box of greens. The way they're arranged right now like I said I kind of sort of have them in sections. You can't really tell. But you can tell if you start to look at what I'm going to describe as warm versus cool. Now using just greens as an example warm greens are going to lean more towards the yellow end of the color wheel or spectrum. Cool greens are going to lean more towards the blue end of the color spectrum. So in this box right here you can see that my warmer greens let me see before I answer if you guys can tell where the warmer greens would be they would be the ones that are closer to yellow. Okay. I bet you've already discovered it's going to be these over here. These are all my warmer greens. Now I have it arranged to where they're kind of going up in value from lighter to darker but more up to these are more of my neutral greens. You know they're kind of in between they're kind of dull and kind of dead in color. These are still kind of warmer greens up here that I have my dark darks. But now if you come this way I've got my warmer tones gradually going into cooler tones a little lighter in value okay or the lighter values of them. And then they are just gradually going up here until into the cooler greens okay. Now what's interesting is the way I have this is how I used to have my boxes sitting on my table before I started putting them in drawers. And just to save space but they're arranged so that the cool greens are next to the warm blues okay for the most part okay. Now that's kind of one of the harder ones is the blues. Well how is a blue warm versus cool? Well if the blues are closer to the greens that goes more towards what is green made of it's made of blue and yellow. The greens obviously all have a little bit of yellow in them okay even these they have some yellow just not as much as here but they have more blue okay. So your warmer blues are going to be closer to the greens. Your cooler blues are going to be closer to the real blues more towards the primary color of blue okay. So that's just kind of a little bit of an idea but this I find this helps me a little bit because you've got some almost crossover colors in here. Like for example I've got a color right here that is it's kind of isn't that kind of in between. Let me do it on my newsprint up here and you'll see. I mean is that a blue is it a green? It's kind of in between you know. So some of them are very close but you know hopefully you're kind of getting the idea there. Look in here. Look at this one here. So I actually do have one that would pass more for a green in here. Look at this color here. This is a nice bright. Sometimes I have them arranged just with brightness too but that's kind of it's kind of a green isn't it in between a blue and a green. So they're kind of like that that little gentle division between the blue and the green. It's where you get warm blues versus cool greens I hope that makes sense. And so I kind of do that even with reds and with yellows and it's based on if you take the color wheel and you do I wish I had that up here. I don't have my color wheel handy and you do your primary colors. You can just see where it in the color wheel is that color closer to and that's going to make it whether it's a cooler or warmer. Okay. So let's put away these Terry Ludwig cool greens. So you might look at this box at first or someone who's just starting with art or has no experience in art and say those aren't all greens. There's blues in that box and there's some that look like lavenders. So why is this considered cool green? Well have you ever noticed there's certain times that you're trying to create a scene or you're just looking out in the real world at nature and there's an atmosphere where everything is more cooler in color. It's not that rich color where there's a warm sunshine and things tend to more warm colors when the sun is bright or warm in the sky. So this might be more of a moody hazy day where things just appear that more blueish cooler atmosphere. So these would be more of the tones that you would use in an atmosphere like that. Sometimes there still might be some warmer greens in that atmosphere but there's going to be some cooler tones as well and even some of your shadows will be like the lavendery colors. So that's why this box is considered cool greens even though they don't all look exactly green like I said to more of the untrained eye. So let's go ahead and explore this and try to put some of these tones or colors away. So I'm going to choose this right here and I'm going to let you guys help me with this. This is one of those nice in-between so I want you to help me. I'm going to mark it up here so you can kind of get an idea of the value and the color. I just love pastels. That's just gorgeous. Anyway, so let's take a look at my system here in my palette and let you help me. So as I pull this around, you guys take a look and you think about where this might go. OK, over here we know these are the cooler blues. OK, they're more towards just the regular blue. OK, so definitely not. OK, let's bring it around here. Looks like this is leaning more towards the warm blues. Huh? And it's very interesting. Look at that right around in here somewhere. OK, all right. We're getting into the cooler greens and a little bit of a darker value, not not dark dark like here. OK, but it's definitely kind of in between these these blues and the greens, OK? And I would consider this kind of more like a neutral one too, kind of like I have some of my neutrals here. I'm actually going to be taking one of my in my system with these boxes. I'm going to make one of them just neutrals. That's what Richard McKinley has.  So that's one of the things I'm going to be doing. So that's kind of a neat one there. You can kind of see how it's in between the blues and the greens there. OK. So let's let's take another one. Let's take and I apologize. My color on my iPhone doesn't look exactly the same as the color that my eye sees. So sometimes when I say, oh, look how green that is. It may not look as green to you. OK, let's do this cut this right here. I happen to really love that. Wow. OK, so is this going to lean more towards the warmer blues or the cooler blues? OK, and I think you're probably seeing that it's not. It doesn't have a lot of yellow in it. OK, so it's definitely more of a blue than it is a green. And again, my eyes can see this better than you can on the phone. But it's going to be somewhere more in this area. It might be a little lighter value. Yes, I think it is than that. That's very subtle difference. But OK, let's do another one. Let's look at maybe here. OK, what do you think? You're probably already getting the hang of this. You can almost instantly see, let me pull back. Look at that. It's going to be one of the warmer greens. OK, so it's going to be more in here. And this one also doesn't have, you see how this is not as bright as that one? It's more of, gets more of that neutrally type of shade to it or color. OK, so we're getting the hang of it. Maybe just one more. Let's look here. This one actually has so much yellow in it that, and it looks more yellow to me with my eye again, that it almost, if I was to take my box that has my yellows, I have a box that has yellows and oranges in it, and I was to sit that box here, these would be like on that border between green and yellow. OK, so you see how it's almost like it's a circle. And everything kind of gradually goes into one thing or the other. OK, so that's pretty much the idea of warm and cool colors. So now you know when you're working on your art, and when I'm talking about warm and cool colors, you'll have an idea of what it is. And also please utilize this in your paintings. If you have a warm scene with a lot of sunshine and warm colors, definitely use some warmer tones. And you use the cooler tones in the shadows. Cooler tones are definitely good for shadows because the sun's not shining there. So I really hope that helps. And again, I'm just so excited to see all of you guys connecting and joining with each other on the Facebook channel or Facebook closed group page. So keep sharing. Keep sharing your art. I'm loving it. Keep helping each other. And mostly just keep enjoying this journey. It is such a beautiful experience in life to just enjoy the beauty of creation and to try to create it ourselves. So thanks guys. I really enjoyed this little lesson. I'll try to give more quick tips. And I hope to have a full painting video coming soon. All right, see ya. Bye.


Mae hyn dechrau dda'r prifod frozen o dda mor Morys. Mae'r hyn yn owech yn bwysigol i gyflawniaeth hyn sy'n gyfardoedd Wale. Rydym yn gallu ei dŵr wedi gydag mae dda'r Morys unwp. A y gallwn i'r hyn yn ei gŷch i bethiau dechrau. Byddwn i'n meddwl hynny i ddweud o wneud yn cyfnod Rhyw Morys. Mae'r ddweud yn cyd-wyrdd Rydym yn cyfrifiadau mewn bydd yddangod. ychwanegwch ar y cyfgaraeth ymlaen o'r drwyddo, yw Ymloes ymlaen o'r fath ar y fath, ac yw'r cyfnod o'r hynod o'r gymryd ystod. Yna, dyma'r fathau ymlaen yw. Had Ymlaen yw Morwch yn gorffordd beth o'r prifoedd i chi arall y gael yma, byddwn yn ddiddorg iawn i ddiweddol i chi'n gweithfyrddol ac yma'r gweithfyrddol hefyd. Mae'r gweithfyrddol yn ddweud ymlaen o'r byddwn yn ddiddorg iawn. ac mae'n i wneud yn cael ei ddweud dros ymlaen gael ar y parwyr dyma i'r Morysu'r Ymwyr, ac mae'n oes o'r oedd ystod o'r bwrdd yn cerddur i'r gwrth yn ymddiol yn ystod o'r cyffredin. Mae'r bwysig yn ei oed yn ein bwrdd hyn, ac mae'n ddweud yma, ac mae'n eu bod yn lech yn dechrau i gydig i gael y byd y Morysu's Llywodraeth, yn ymddiol, mae'n ei ddweud yn ddod o'r ymddiol i'n gwybio. Felly, rwy'n meddwl at yw, ystod o'r bwrdd ei gwrthfaen yn wych yn unig, ysgwrdd gyda morch yn byw. Ysgwrdd EIS, a'r asyngarth incomingchân byw ring yw, dwi'n meddylu'r baith o awl yn gwrthfaen ichi gwaith. Yr olw yn ysgwrdd gyda'r awl, nid eisiau sydd wedi bwrdd, gallwn yn effaith am rhai unig. Mae fynd i gyrraedd yma, nad yma. Felly, mae'r bobl haeth gwrthfaen. morio gweithio eich ddweud oedd y dyfodol ymylion. Mae'r cyfnod i ddarparu gwybod. Felly fe'r cyfnod yw'r cyfnod yma'r cyd-rhyw pwysig yw? Mae'n meddwl o'ch gael i ddiweddol. Os wnaeth i fyddwch chi yw'r cyd-rhyw i ddillanefodig, dyna'r pob ddod gennym i ddim yn dda i gael eu cyfnodski. Mae'n meddwl i ddillanefodig o wneud yr cyfnod sgwp iawn, ac, yn y cwmhreifft, y cwmhreifft, mae'n gwybod y ffordd. Mae hi'n gweithio'n gweithio'n gwybod yng nghymru, ac mae'n ffordd hynny, yn 1977.  Mae'r ddweudfodd wedi'i gweithio fel ystod o'r Rhysgrwm, sy'n ardindig i'r llif yn ddweudio'r llif, bydd ydych chi'n ddweudio'r rhysgrwm yn ddau'r rhysgrwm. A mae'n ffordd â'r cyfeiliadau. Mae'n gweithio ddweud'r llwy, mae'n bwysigadau yma, a'r llefyn yn ei ddweud gan gweithio ddechrau a'r llefyn. Mae'r ddweud eich bod yn ysgrifennu, yna wedi'i ddechrau, ac mae'r ysgrifennu'n gwneud yma'n gwneud yma. Mae'n ddweud i sicrhau, yn ymgynghwyl, yn y cyfnod i'r 19th cedlau. Mae'r ddweud yn gweithio'r gyfer y gwaith yn yr un o'r llwy. That's it today, not one single stone of that end up there. It's a completely hypothetical and intensive form, based on their historical precedent, complete absurdity. Now that's a fairly extreme example, but certainly in England between 1840 and 1870 over 7,000 many churches were, unquote, installable, sometimes very sensitive and cursive, but in many cases with drastically building old circles. Many of the churches in the north were looking at through the eyes of a 19th century restaurant rather than how they would have been originally. Now, practice. William Morris in particular, his friend and colleague, when Philip Wade would design the Rithas for William Morris, decided that it was time to set out the protest movements that put forward alternative view. Mae'r morhwyd yn ychwanegwyd wedi'i gweithio, i'ch gweithio, ond mae'n gwneud y bodai yn ei angen am y boded yn ei gweithio, ond mae'n aelod y mynd i'n gweithio, a yn ymgyrch yn 54 mae'r Morhwyd yn ei angen i'ch cyfweld, a'u bod yn ei gweithio'n gweithio'n gweithio. Felly y gallwn y dyma, y SPAB wedyn yn ysgrifennu'r bod yn ffordd y bod yn ysgrifennu'r afael rhai yma, ac mae'r ffordd ydw i'r ysgrifennu. Felly efo'r bwysig, mae'r bwysig yn ddod i'r holl, a'r holl mae'r holl yn ddod i'r holl sy'n ddod i'r holl yma, mae'r holl yn ddod i'r holl yn ddod i'r holl yn ddod i'r holl yn ddod i'r holl. Ac mae'r ffordd yn ei ddweud, mae'r gwaholthau'r sgwrdd yma, ond dwi'n meddwl i'n gwybod i'r sgwrdd yma i'r cyfnodau. Rwy'n gweithio'n gweithio, mae'n gweithio, a byddwn i'n gwybod i'r gweithio'r ddechrau. Mae'r ddweud er mwynhau'r llyfr oherwydd. Efallai, mae'n gwybodaeth o'r ddweud yma ym mwyntwyr cweithwyr ymddechrau, ymgyrch, Mae'r ystyparau ystodol, mae'r ystyparau sydd mewn gyda bwysigau eich hun bywydol, lle mae'r rhan o'r traffodiadau er whifth eich hun i. Morwalkau mynd i ddiwethaf. Mae'r rhawb dda. Mae'r rhawb dda maen nhw'n ffafod. Ffafod a newid o'ch siwr mwynhau a brif meddwl. Mae'r unrhyw o'r rhoi gwirdd. yn mynd i'r dyn ni'n dweud'r arfer o'r ddaf yn ei bod yn ychydig ymddangos gan y gallwn yr un. Rydw i ddim yn cydweithio'r ddaf yn y ddweud, gan ydych chi'n edrych yn fawr o'r ffawr. Dwi'n ddigon i'r ddweud i'r ddweud i'r ddweud i'r ddweud. Ond oedd y ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud, ond y ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud. Y cethuno y gallwch eich bod yn gweithio fod o'r busau ffordd a gweithio gwybod yn ymddangos unrhyw. Rwy'n adeg, yr ystafell bod yng Nghymru yn ddull â'r fan wych. Mae'r ddaeth ym mhwylwch yn fawr. Mae'r ddweud y ddull a'i ffordd a'r ddweud yn dda. Mae'r ddweud ydyn nhw ymolwch wedi'u allan o'r ffordd. mae'r ffordd embrace o'r cyd-dweithiau neu'r llwe ferchafol, mae'r bydd cyd-dweithiau a'r teimlo bwysigol, mae'r cyd-dweithicaith cyndesydd a'r draffau syniadau o ran y rhaith i'r cyfrifau rhaeg i ddechrau'r hynny. Mae'r dŵl yn gmarfod o'r rhain, a wnaeth yn ei bod ar hyn i ymddindig i fandsigol o'r gy��릴게요, oedd, ymdun i'r dda wedi'u dŵr fighting, Felly, mae'n bwyd byw i'r ymddangos cyd-gryffwyr, y ffyrdd cyd-gryffwyr, dyn nhw'n fwy ffyrdd cyd-gryffwyr o ffyrdd cyd-gryffwyr. Felly, mae'r ffyrdd cyd-gryffwyr yn ymddangos cyd-gryffwyr, mae'n fwy ffyrdd cyd-gryffwyr. Yn ymddangos, mae wedi'n gwybod, mae'r ffrifwyr wedi'n gwybod, eich amser, ddau'r cyd-gryffwyr, sy'n ddifrwyr o aelodau cyd-gryffwyr. But it's the idea that the people as a whole have a right to get involved and when the society was set up it was open to anybody who would agree with the principles of manifesto. If however there were no meaningful artist with there was no Bismill than tests he'd just simply said they would agree with the principles. Another thing that made a complete difference to the SBAB was William Morris himself. Again, very difficult, not underestimated the importance of Morris, and the reason it's important was he was unbelievably aggressive, confrontational, outspoken, whereas the society managers have quite often come to mind in the past. He was very, very outspoken, and, more to the point, he used the press ruthlessly. Of course, in those days, there were no rules. They wanted to do whatever they liked to their building. So, how did he pick my message out there? How did he convert the public to a more conservative approach? And do it, as I say, by being somebody oppressed and loved to deal with the times of the muscle's publishings, let us, and it was Morris' willingness to be so oppressive, outspoken, that made the SBA be so different from, as I say, existing bodies such as the Antiquits. Now, I'm going to just show you a few examples of some of the sorts of things that the society got involved with. Now, one of its various cases was actually candidate cathedral. The deal was proposing to remove the 17th century castles, which, at that stage, was thought to be by Billy Gibbons. I think the experts now disagree with that, but it was important for 17th century castles, because behind them was the fragmentary remains of a screen dating from what was called Prime Minister's Chapel. And Morris argued very strongly that to remove jelly in the 5th, 17th century would work, simply to recreate largely hypothetical castles. This was actually by Diolch Scott, who Morris was very rude about. Sometimes that's the final thought, but not. And the interesting thing about Scott was that actually what he wrote about conservation was often very, very conservative. What actually happened was something that was quite the same. Anyway, Morris wrote twice to the Times, just one extract. He said that the category will be confused and fortified by the usual mass of ecclesiastical trumpery and coarse drawing. I think our ancient monuments are national property. They're all that we left to the mercy of the many very birdies of ecclesiastical propriety that made it any time prevalent. Now, what's interesting about that is this idea of national property. In fact, as we'll hear a little later, a man who was a John Lubbock had already been trying to get some kind of legislation through Parliament, and it actually succeeded. One of the things that's known about the SPAB is the fact that Morris has said we are only trust students for those that come after us. Now, that seems to be a whole new uncontroversial statement, and the kind of thing that otherwise all environmental legislation and our thought involved the legal world, certainly in the worst state that it is now and preferably in a better one. My great-great-grandchildren from the Visit Western Australia will find it's been good order. Now, in fact, oddly enough, Morris only made the statement of an SPAB AGM many, many years later. But the important thing is it was very revolutionary at the time because what it was saying is private property may well be something we have to think about in a slightly different way.  So, as I say, it's something to us that is now so much part and parcel of what seems to come under the obvious. It was a very revolutionary statement at the time. Very early on, I had to decide whether or not to fight for the brain churches in the city. On the whole, it said that he was a terrible chemo, but there was pressure amongst others from Thomas Carlyle who said that he would join the SPAB if he took up the case of the churches. Incidentally, I should have said the only committee in the SPAB consisted very largely of Morris's pre-ratholite friends, like, you know, Burgers and Montelwell. And then later on, brought on board a lot of young arts and crafts architects who, in a sense, extended the work beyond that. But, as I say, city churches were already being demolished in the 1870s, so it could have come down and some dynamist backed church by Redmond's being demolished as the protest actually started. And there was a scheme for forward, in particular, that were after demolition. And again, it was to the times, saying, surely an occupancy can afford some small sacrifice to spare these beautiful buildings. And so modern patterns, which is this one here, is failing today as a result. And then a year later, the SPAB managed to get a clause into the role-based bill to protect, to marry a hill which was threatened by the tomb. And it was slightly resided in order to protect the church. Now, in the early days, a very high proportion of the cases reported in the churches. And this is, I'm showing this simply because it's very technical, but nothing special about that. And in fact, this is Morris's pre-rath letter here. And it was simply because some changes were due in May at St Mary's evening. And again, I might read very briefly what Morris wrote. This assignment considers any respiration undertaken with objects obliterating several hundred years of history of a building made it appear that a brand-new 12th or 13th century church erected in the 19th century must have experienced a nature of purpose, entirely destroys ancient and interesting character. Furthermore, it's impossible to destroy ancient groups in places where modern ones make the imitation of some bygone style. To remove ancient traces from windows and replace it with that which is new. To scrape down and rework ancient carvings. To replace ancient walls to sweep away the whole of the internal furniture of the church and replace it with modern, but that would be the good of all historical art value. And if you go on to say, it's an 11th of a bigger. And in a way that would be worried, your church is no worse than many others. One of the earliest things that the society decided to do was to try to create a record of underscored churches. And they went out of this sort of reformer and within the first year or two they'd actually got records of over 750. Well oddly, we do have a few done by Morris himself, but very much later and this is Morris' moment of writing here. But this is actually quite near the town of Scott and probably not really. There is talk of W Butterfield being after one of these churches, several, and it's supposed to be true. Well, W Butterfield was definitely in Morris's panoclyw of the story in Arkstead, so he was not alone. In fact that didn't happen. But actually it didn't happen. It was in place 84 kilometres. I say mostly the sermon that you've done in 1878. Now, this is a lecture itself, so I won't go into great detail. But in 1878-1989, the SPF got word of proposal to, as they believe, rebuild the entire west front of St Mark's in Venice. Certainly the south side had been rebuilt and there were some evidence to suggest that that work was going to continue. I'm a Italian architect working at it, decided to get together a national protest and he went around the country holding meetings, writing to the paper and got together in a memorial signed by about 2,000 people, including Gladstone, the Israeli, people like George Elliott at Browning, many building architects, including, actually, Daryr, stripped his own people master, Morris Woodroot, but it was all the great and good that came to sign this protest. The drawback was that first of all, I think it seems pretty clear from a recent research that Ruskin himself, working with a man of councilorcy, had already dissuaded the Italian authorities to go ahead with this work. On the other hand, George Streetburn visited being stripped of it. He said, even if it seemed clear to others, they had a command to go ahead with it. But, by the time they got this great memorial together, it was pretty clear the work was not going to go ahead and it was not helped by two things. One, that the SBA had sent it to the wrong ministry to start with, so it didn't get to the right people. More to the point, it was sent with a typically Morris aggressive letter and this absolutely appalled the Italians. They were furious. The Italian press, you know, got a bit hot for Christmas and the Britain and the British intervention. And even in the UK, there were jokes about it. There were a number of cartoons in practice that were published. There was Morris Starter and some marks. You probably might like it out, but actually that is Rust in there. That's Morris there. That's Dizleigh there. I don't know if it's something that people are. Oh, Street himself was there. It became a ritual of mighty internationalism at the moment. But whatever the rights are onto it, it did mean that actually some marks was more or less okay. Though the work did continue, but because it had such a hostile reception, Morris decided that any future protest should not come from the SPAB, because its name was merged with it. But an international committee was set up to, again, comment. So people were to gain a number of others joining this committee. They were to all intents and purpose. It was still an SPAB committee, but it was using a different writing programme. But essentially the great battle over two marks was more or less over, but it severely influenced Morris' involvement in local Italian cases. Now, the SPAB had never really intended to do cases at all, but very early on Morris realised that actually there were things that worried him and other committee members, and this is just a list of so many, many cases that the society got involved with during this time as secretary to his death in 1996. Some of which he was thinking was right up until nearly the end. He was writing about the Royal Cathedral, very nearly the end. But the main thing was, if you learn from the very hostile reaction over to Morris, that all his future letters to Italian authorities were very, very tactful. They were usually written very, very diplomatic, saying, more or less, how wonderful you are the way you look after your buildings. There was a bit of a lot, because certainly there were at least a couple of letters in time saying how bad the detections weren't looking after their buildings. But in general, they were much, much more tactful. I think more than I'd show it simply, European buildings, the society got involved. Brooklyn recently catered over authority in Egypt, and one of the things that was happening in it, when I did with Britain, was that the large areas of, as it were, slum clearance were happening, which involved a lot of medieval Arab buildings being expected to work. And definitely Morris was very keen that these should be preserved where possible. Also complained about the fact that it had become a sort of hand-pocked form of art collectors and dealers going and buying up and putting up their atomic tiles and objects of all sorts, which were effectively being looted than any other on the international art market. And in fact, the society became involved in Egypt. It went up for quite a long time. It went up after Morris' death, as it did in India and elsewhere. That's a different lecture. There was also a feeling that actually there'd be no one involved in anything more for about the trend, which of course is not true at all, but it's no doubt it's recruiting and it was at most again from 12 o'clock south, and this is just a round of the time when I've chosen just to show you that it was actually north of the town, north of the road. This is the thing called Kyle Tower Newcastle, 1878, so this is still the first year after the society was founded. This was the remaining tower on the 1860 Walls of Newcastle due to the demolition of that way for a public library. And in October 1778, Morris wrote to both of them on the town council trying to object to it. In December he wrote to the local MP. Meanwhile, there was a strong local camera to try to save it, and yesterday we forwarded to the Lord of the Treasury a 4,000 word signature appeal because the town council approved demolition but to no avail when they had said that that was demolished by the public library, which seems quite a odd thing to do with destroying a project of art for now. In 1879, Morris was in the Iron Man. Again, that's a Morris crawl off left. Yes, there are the archives actually have quite a lot of Morris stuff but of course there are also the drafts because the officials are actually the people who have seen them. Also the way that the archives work they tend to be they are on time by case. So listen and know that Morris had to be involved with the case. You have to know until you have a plan to pick up things. I don't know if there's a Morris letter on the case or whatever. I've found several in the last two or three years which don't appear of course many published lists in Morris letters. This one is this was the release of a civil on the Iron Man and there was a scheme which plans to support it to restore it. Slightly odd because actually the roof had been removed a very short time before so it wasn't a long standing room. Anyway, Morris met the Governor of the Iron Man and also the Bishop for a relative family of the scheme but Morris wrote to the magazine saying, the restoration of a room is impossible and yet the temperature restored such a work and the area result in substituting a fritter and dead academic study in the ancient building for the living where mutilated remains a room. Which the magazine required a very long thought from that up but in it he says if no room had been restored it would follow but neither can further decay properly arrested. Now that's relevant because in the early days the opponents of the SPAB of which there certainly were said over it was said there was nothing to think. SPAB building would fall down if you adopted the SPAB approach. I would have loved that scheme but I would have come to a letter here by very good memory of the Charity who one mention of the SPAB in the history of conservation said oh well it was a do nothing policy and it shot that but it was important that the society could actually say this is an idea that we can put into practice and the person who did it was Philip Webb. Philip Webb was the practical man Morris was the proselytizer he was the man who went out to the streets and asked about the Philip Webb was able to say yes this is the way you can repair a building concerning you don't have to take down that public eye you can't actually mend it you don't have to renew all the stone yes you can repair it so it was a dole act where would then get completely forgotten by many people but he was the man that actually gave substance to the society's approach and therefore he did practicality and it was easy to shoot down because there wasn't actually a practical answer Morris was involved with Westerner's Road seeing my colleagues from the fabric commission here today in fact mostly ineffective but he did actually stuff about the Abbey he wrote stuff about the Monument quite a number of letters and things like that he was particularly incensed by Pearson's actually building a great North Tronset Llywodraeth, Llywodraeth, Llywodraeth the North Portrait and just again what his view was of the new carving that there was what will Westerner to think Morris said what will they say the smooth tamed run-down pieces of stone that are like nothing is or could be a nature that are neither useful, beautiful nor suggestive it doesn't seem strange to me that people cannot see how times have changed that they should insist on these lifeless pieces of reproduction so I think it seems also quite a large part of the early work of the committee in 1818 society had been allergic to work on Salisbury by good opportunity street and society prepared to send off one of its usual criticisms and street well done him, actually hit it back because Morris had actually Morris had company had actually visited him and stored a new new salisbury there at the side of the market which apparently didn't want badly and so street was able to reply well you know you put it to yourself in fact immediately after the society was finally Morris had sent out a letter to all potential customers that was to be Morris had company Morris had company would no longer provide new stained glass windows for medieval churches unless they'd already got a Morris had company window I think that brought a lapse after Morris' death but what it did mean was actually that a number of stained glass commissions dropped very dramatically in fact big drops they did actually hurt him a bit now I'd mentioned that the original manifesto had made it clear that there were different buildings at all periods that Morris had certainly was some medieval buildings as I was slightly reluctant to be taken on very churches so this was a slightly odd case this is more of a bridge in Oxford and as with many such cases the society set up a small working group so this is more of a writing here Subcom Matt Bridge Pleasants Henry Morris Peeway and J. H. Middleton J. H. Middleton was a great ally of Morris and often went visiting buildings with him, Professor Middleton had been Heather Fitzwilliam headed up as head of the BNA and I think a little later it was right died of morphine addiction whatever that's done by in these days he was very, very active and so he and Morris often went to places and so this was to protest about the fact that Bridge was due to be widened what was unusual about it was the fact that the building was actually completed in 1782 so in fact 99 years earlier so Morris' term was a relatively modern building and however Morris was preparing to make a big fuss and give a circular order to people and in a very rare case the community outvoted him because they felt that actually the bad publicity was that it would be of no advantage but interestingly in the same year the society also debated whether or not it should fight for the college chapel at Usheron which is in County Durham it was a Catholic second water quality resource college and it was a building by Pugil dating from 1847 society thought it walked to fight for bearing in mind that it was due to be replaced in 1881 but in fact the society decided in the end that it was to quote unquote purely modern now the society though Morris of course really had very little time for parliamentary democracy in the future he had people out for a way he certainly made use of Parliament the society actually had several MPs on its early committee surprising number of very influential people actually on the SPA committee some of them were just names on the writing paper some of them were actually actively involved this was a proposal by Pearson where the law courts which used to be on this side of Westminster Hall were removed and UC revealed the original buttresses and that's the original wall of Westminster Hall and Pearson had a scheme for building new some new choice for the court people on there and putting windows in a various things like that well Morris managed to use the MP SPAB MPs to set up a parliamentary select committee to look into this Morris and a number of other SPAB people gave over the supposibating of it 41885 without success in fact so this is now what Pearson has been and you can see it's quite fairly rapidly different not least Pearson, the engine wall with all these windows and I think those are all completely replaced by buttresses longer than the original ones in the case so quite a dramatic change and lastly the question of vegetation which I touched on earlier had begun before and it came to be a wonderful man Mr John Locke who was a real Renaissance man became a little day free and was involved in all sorts of things including providing back holidays and various others like that he was trying to get it built through Parliament to have some kind of control over the parts his many interests has to be said were in archaeological remains and made several attempts to get the legislation through finally finally in 1882 the first ancient monument act was passed but so watered down and it amounted to almost nothing basically it simply allowed the state to take in the guardianship just under 50 identified ancient sites some of which were very archaeological sites some of the things like Sted and Henge if the evidence agreed to it so there was never an impulsion in the cemetery but the important thing was this was the first step towards later legislation that actually had an effect and let me look it was not an active member of the SPAB community there were various occasions when it did get involved and in the sister society the Tower of London was a wonderful failure by the SPAB this is what it used to look like people realised that had this gigantic early 18th century ordinance office and another building nearby there was Morris and the SPAB businesses and had a committee on it with that success basically that was the Morris so it certainly proved the view but all this inner wall here was really built not on a certain line under the L1 and again to a hypothetical form and also they discovered that it was not down to the 12th century wall on the 6th it was unfortunate, a bit minor some of the successors I say very often the very often society was in that community possibly on church matters the church was pretty hostile back not always this was Norwich Cathedral Watergate in 1882 it was a joint campaign by the SPAB this society had degrees in Norwich because the railways used to go straight to the middle of this and again using the society's MPs they were able to speak during the build the private build was going to allow the railway to go through and unfortunately there was a very nice letter from the dean to Morris saying thank you so much for for intervening here now Morris was initially not only the secretary but later on he was part time secretaries and honorary secretaries to some he wrote all the minutes and he did everything he was also the treasurer of the first year or two which he didn't want to be and I thought this would be quite a good moment to explain some of the other things he did one of which was to raise money for society he arranged a series of lectures by some of those involved in the society and Morris' own lecture was later published as on the lesser arts which is now one of the standard Morris writings I thought this might be a good moment just to pause and go back to what Aira Ballans said about what an important part of Morris' life this was because during 1877 in 1896 with a slight gap in the mid 80s when he was very active politically Morris attended 390 meetings of the SPAB general committee 50 of the restoration committee meetings a substantial number of foreign committee meetings also the finance committee a small number of subcommittees so at the very least 500 meetings of the SPAB which was more higher than 28 years so to think of how much time Morris put in when a bloody eastern association gets a mention of the biographies which took up about probably about 5 meetings of the SPAB dealt with over 2,000 cases now Morris was only involved in a limited number but he did visit he did lecture he did write letters he was very very active as I say slightly lesser in the mid 80s but not totally for example this was a wonderful case actually he came across recently and the fire in my head he had been to visit he had written a mildly critical letter to the vicar I had never seen a reply quite like it the man was absolutely unaplectic he was accusing Morris of everything under the sun he was saying to the gentleman all these lies and tell about my church the odd thing about it was I wanted to stand in front of this letter to touch the benefit of this chat it's the only time I've come across a really as I say, a demand a demand seems to cross now this was a sad loss in 1984 Taylor Hill later went on to fund the National Trust but was already corresponding with the SPAB Taylor Hill later went to the SPAB to propose a demolition of a 17th century house in part near Fairfax house was owned by Mr Pettywood who had nine daughters and he said I've got to sell the wheel out of this site because I would provide to my nine daughters Morris set up a small subcommittee and invited local residents to get involved and tried to raise them 10,000 pounds nearly to purchase it but it wasn't appropriate when then suddenly Mr Pettywood said no, I'm going to put a price at the 12,000 so I'm going to be on trade and they thought no, we just can't do 12,000 so that's going to be a sad thing it was lost Small houses in Oxford this was interesting because this was a very early case where Morris argued that small monacular buildings were just as worth thinking about as the much grander and obvious things and that's important because again it was a giant which was still preserved in great monuments but the ordinary simpler buildings just aren't worth bothering about and swept away Morris argued very strongly and luckily I've got to say these small 17th century houses have survived Brunswick Castle this was an example of the SBA these give-aways Gold used it was going to be substantially store it was owned by his daughters Sir Henry Parsonby Queen Victoria's private secretary was an SPAB member society contacted here from the respective principle Queen Victoria to the camera of the list of things that should be done which instead had passed on and the Queen then passed on to her daughter and got back very nicely to say that the son was very not just the need to look after this building properly in fact it was probably not a complete restoration that was a late 19th century building that we were looking at this was a wonderful case 100 of York Churches were due to be demolished and society had local correspondence and the local correspondent for York was clergyman who wrote a new command and if he wrote to the SBA saying that there is no way to get which Morris agreed to speak but he suggested a bit of what one would call the modern media management he said well could you get one of your committee members to write to your papers and say that this dangerous socialist is coming into York and watch out for him and then you just get another committee member to write back saying oh no no it's all going to be fine and the idea was to get publicity going and interesting is actually Morris' name is tiny on a poster but in fact he was the main speaker that was the event that was in fact all the other stuff was Richard Groban was actually not very secretary essentially it was an SBA meeting and I'm down to say the result was that those churches were yet English was a local church Morris just simply helped personally look local to Kevin Scott which he helped raise money for and get prepared I'll show you this the first international congress for the protection of money onto works of art the SPB had been circulating its ideas to other countries and translated into manifesto but I think what's interesting is that it put the words of the literature by Ernstryd Spillerson about this congress the congress clearly positioned itself on the side of conservation and restoration this was mainly achieved by presenting the views of the SPB as a leading international principles the SPB's first correspondence out of England, whether that's between the SPB expressing the principles of asking of the SPB in accordance with their sediments the congress resolved that reveration should be limited to consolidation and not restoration so this was a very early case where SPAB ideas were being much and widely accepted than just city within the UK didn't write much of a technical nature he wasn't a technical man something about roof coverings the SPB today publishes all sorts of technical publications I regard this as probably the first of the technical publications about what roof should be like and so on mostly his hatred of gloff sweet actually wasn't much of a thing to do this was an important house where society was involved in various ways and it all went badly wrong in the end and it was much restored but again quite a bit more in 1887 he brought in to the Palmael Corset that saying that essentially instead of the very limited builds a job of the public shows a new looking to carry which in the long ago had a measure part which would have given the nation the right of prevention when one of its precious relics was threatened by a fight of the person but it seemed an spiteful, wielded terror of socialist legislation one of the rights of private property in the Palmael Corset is the right to destroy a portion of what is above all things national property, the history of the nation and the past Peterborough Cathedral again was much involved with right up until 1895 the year before his death when it was proposed by the architect Pearson to take down the Northwest Cable it was actually a campaign that was given himself signed up to arguing that it needed a group of experts to architect it inside of it which is very likely that system we have now will be through the Australian Commission that wasn't just a matter for one person at most of them in this part again a rare example of a private case that Morris took up this was brought by America and Morris was very attacked when he had to say that he was sure that he was going to look after it well etc the letter back on the front was a raspberry and they built a huge extension up to the left of it but actually interestingly that's now being demolished so that survived Morris were a church this was the last Morris of many visits he visited it in 1895 to bring in an SPAB case and he got quite ill on the journey and I think scholars will now agree that was the point at which the deterioration of Morris' health first set in he was due to visit he was a cathedral for the SPAB but later he had to cancel that because he was too ill now just going to a close about the influence the National Trust was set up in 1895 so that the year before Morris' death the year before the prison house had been in the SPAB case for a while this is one of my favourite minutes you can see it signed by Morris and Robert we can't write it the old prison house the bigger a place we can explain into position in terms of a few minutes for a minute but essentially the important thing was that the SPAB was in touch with Octavia Hill and Canterbury both of them had been involved somewhere around the SPAB before and it was agreed that the National Trust would take it on but more to the point the National Trust decided that Octavia Hill was absolutely rustidian at heart and the National Trust resolved that restoration means such work that would be necessary to the preservation building with as little new work as possible now the first act that really came into being that had any kind of degree of teeth was the Ancient Monions Act of 1913 the SPAB had through one of its honorary secretaries a man called William Crawford of Barcarys who was also the National Trust put forward one of three bills that was actually considered that one that finally went through so all three were very similar and got through the reason I showed this was because Tashall Castle had been under threat of American import and was busy shipping with across the Atlantic and that was the point where everybody said there must be something to stop this and so the first law of Canada in 1913 was the one that had some teeth in the second year Paul McCurson would form up Indian Hydro where he was by Troy was an SPAB committee member and then an SPAB proved to meet the archbishop to counter the will to say that the church needed some form of system of specialist advisers which you now see today in the Viruses and Advice Regulations now SPAB today very briefly it's time for running out the SPAB today is one of the things of the National Unity Society which by law must be notified of applications for the demolition of parking buildings and other things like research energy conservation one of the most important things is training from training programmes for a long time perhaps the most significant is the SPAB scholarship my month training programme since 1930 and you'll find SPAB scholars in all sorts of places I shared lessons for Abbey the current survey of the fabric Tommy Dean is an SPAB scholar Justin Robbins who is the main job architect on the new generalist an SPAB scholar and another scholar architect no longer working on the also involved scholars who worked back in the palace tower of London active core etc very very strange the small private society charity funds is the main engine for training people in historic buildings prepare and there's a parallel scheme set up on the William Morris craft fellowship and this is for craftsmen who are really trained teaching for Morris's ideas we're very grateful to William Morris Society and one of the organisations that come to it as I mentioned what I call the National Unity Society by law must be notified and some of these are the children of the SPAB in sort of a day's order these are the magazines the SPAB's magazine the actual monument society in the 1920s mostly as a normal body very confusing in nothing relation monuments it's basically a building a property of a building preservation society Georgian group it's still called the Georgian group not Georgian society because it was the Georgian group of the SPAB it's the subcommittee of the SPAB until it became after the fight to say unsuccessfully much of the filthy the CVA comes of which are Georgian a sort of federal body that contains all the constituent numbers Tory, 787 it was a 1987 until the fight of Tory building and then 20th century society originally started as a first society after the fast manufacturing but now concerns itself with that building quite certainly there is a heritage which was set up really as a kind of ginger group they want germans involved and they are in a way I think much of the cavalry they don't want to do that with cases but they'll go to great lengths so they'll go to call to fight for example the proposed demolition of Smithfield where that's no good where the new museum of man that's there to be they do encourage a list of buildings at the risk in some ways probably some of the SPAB was done just when I was here in the future and in it he talks about the fact that Parliament still exists there's no longer work to Parliament the buildings are still there because some small society in the SPAB had thought it was worth trying to save so the buildings still exist that they were maybe used to storm course done anyway I'm hoping that the future I mean all I should say is that looking back at what's his claim to what Morris did it was not simply the amount of time within the SPAB but the fact that it was pushing forward this philosophy of a pair which you can find in charters of Athens Venice and elsewhere so that way for example today decisions are made about what you get this to build a consent for how we think about buildings they are all underpinned by his ideas those ideas were round I don't think they've ever got code they have without Morris and his other students thank you very much