Good day, fellow investors! Now everybody knows stocks are overvalued, the market is high, valuations are high, but if you sell now, you might miss on the next five years of stocks going up, because nobody knows when the market will crash. So, if you don't want to sell, because we know it's impossible to time the market, what you can do is to be hedged, to be protected for whatever happens. And today I'll discuss seven unconventional hedging strategies that can be applied by everybody that are simple, not complicated, and not expensive. Some hedges are even free. So, let's immediately start with discussing hedging for your portfolio. Hedging is, of course, insurance. The purpose of a hedge is that when a value of one asset declines, the hedge rises in price so that it covers the loss of the other asset. So, you insure yourself against anything that can happen. The best hedge is a hedge that makes money, creates value, has a yield, and that protects another part of your portfolio that has a yield. So, you constantly have a yield, have value, and you're protected from whatever happens. That's the best hedge. There are other hedges, but let's see in-depth seven hedging strategies. So, the first hedge that everybody can do is diversification. Diversification is usually the smart thing to do, but you can go beyond and diversify a bit more than what's the normal diversification. To be diversified normally means owning the SAP 500. That's no diversification. That's being long US stocks. And the only good about that is higher interest rates, higher stock prices. If that turns, it will be a terrible investment. The next step in diversification is owning 60% stocks and 40% bonds. Also correlated and depending on interest rates. So, if you want to be diversified in a hedged way so that whatever happens, you make money, you have to look at an all-weather portfolio as Ray Dalio is preaching. Where? Whatever happens in the economy. The economy goes up, inflation goes up, the economy goes down, inflation goes up and down, whatever, all the four scenarios that can happen in an economy, you always make money. You always have a yield. And remember, Ray Dalio made a return of 10.8% in the last 45 years. He has beaten the market. Even if the economic environment was extremely positive for stocks, he would have beaten the market in any other situation by a huge margin. He beat it by a small margin now, but if interest rates now start increasing, if inflation hits the environment, Ray Dalio will hugely outperform the market. In the description below, there is a link to my Ray Dalio all-weather portfolio and how to create one. And what does it mean to be diversified in a hedged, protective way? The second hedging strategy that everybody can do is to be prepared for financial and economic turmoil. We have all seen what has happened in 2009. If you watch the movie The Big Short, you know what was going on and how those who saw that ahead could have prepared themselves at a very, very cheap price. This is the Fed's European Central Bank and Bank of Japan balance sheets. As you can see, they all increased between four and six times in the last eight years. Because there was a financial crisis, a recession, all those banks started printing money. I call it money printing. The formal name is quantitative easing. That includes lowering interest rates, increasing credit, offering tax credits and buying assets on financial markets. For me, it's simply money printing. They insert liquidity into the system. Now, what will happen in the next recession? Central banks and politicians will use the same medicine. They will print even more money. Will their recession come in the next 5-10 years? Definitely, because the economy works in cycles. That has been the case for the last 3,000 years. It will be the case again. In 2012, ECB President Mario Draghi said he will do whatever it takes to keep the situation as is. For me, that means more money printing activity. So what we want to be is hedged against more quantitative easing, more money printing, because that will come. And now that everybody is talking about balance sheet trimmings, about higher interest rates, now is the time to be hedged at a very low cost. The best hedges against quantitative easing are assets that are fixed in supply, like precious metals, real estate, fixed supply real estate, commodities that have a fixed supply but stable demand. In this chart I have gold. From April 2001, it went up about 5 times. So this is similar to what has been going on with the increased central bank balance sheets. The correlation isn't perfect, but the trend is there. Gold prices are very much influenced by sentiment and gold prices started going up in expectations of what will happen. So in the short term, don't expect perfect correlation, but in the long term expect that gold prices will follow the amount of money in the system. And as there will be more money in the system, gold prices will go up. So that's a hedge, especially if you take it from a long term perspective and don't care about 100-200 dollar moves. I prefer gold miners as a hedge and you can check more about gold in my gold will go to 20,000 or 5,000 per ounce video. Also the link is in the description below. The third way to hedge yourself and your portfolio is to be hedged against inflation. Everybody was surprised that the huge monetary easing policies didn't trigger huge inflation, hyperinflation. However, hyperinflation can happen anytime, has happened in the past many times and can easily slip out of control. So if we see inflation, you want to be protected against inflation. Stocks are a good proxy protection for inflation because they can raise prices and cover for what's going on. However, there are even better protections for inflation and you can take advantage. We have seen very low inflation, but every central bank has a target of 2 to 4% inflation and they will reach it eventually. So 4% inflation, 5% inflation will make a huge impact on most portfolios. You want to be prepared for that. How to hedge yourself for inflation? Take a loan with a fixed interest rate. Also, link on how to invest with debt is in the description below. So if you take a loan with a fixed interest rate, if the inflation rate surpasses that interest rate, you're hedged because your payments become fixed, your income is increasing at the rate of inflation and it becomes cheaper and cheaper. So think about a loan as a hedge against inflation. Other inflation hedges are of course gold that I already mentioned, real estate and tips. Treasury inflated protection securities. But as I don't like bonds and the yield is very low, you have to see how that fits your portfolio. 4. Hedging for currency risk. Currencies move in predictable ways if you look at it from a longer-term perspective. At some point, you'll hear discussions that the dollar is too strong. It's not good for our exporters, it's not good for our economy. After a few years, that balances itself out. The dollar becomes weak and then it's good for exporters and let's say the euro becomes strong or some other currency. And then after a few years, again, it balances itself out. If we take a look at this chart from a 1985, the dollar index went down till the 1995, then went up, then again down and now it's again up. So we can say that the dollar is strong now. So take advantage of the strong dollar to diversify across the world. When the dollar is weak again, rebalance those currencies and buy again of your domestic currencies. In such a way, by looking at what's going on, where in the world you can really add a few percentage points to your returns and lower your risk because you are diversified and hedged against currency risks with a well-diversified international portfolio. The good thing is that global interest rates are even higher than the US dollar now. So you can really find some bargains around the world. Number five is liquidity, having cash as a hedge. Cash is power. It gives you the opportunity to buy bargains when the market offers bargains. And here and there the market always offers bargains. The best way I prefer to do that is, okay, the market is at this level, the valuations are at this level and let's say they are high, I want to have 25% in cash. If valuations drop to, I don't know, 20, 15, 10, or 7, when valuations are at 7, you want to be invested totally. However, and then if valuations rise, you rebalance again. You will underperform perhaps the market in the short, medium term, but in the long term, you will outperform the market with lower risk. So always keep a cash hedge because cash is power. However, power often gets to people's heads. So be careful and be disciplined and see if you can have a cash hedge. Number six, hedging outside of financial markets. We are all focused mostly on our portfolio. What can we do? What stock to buy? Was this this? What's the best stock or something? However, investing is not just about the stock market.  And you have to put all those factors into your risk reward investment scenarios. So if you only have stocks, why don't you think about investing perhaps in some private equity, in some business that you like? Start a secondary business. Start a YouTube channel. That's also a part of diversification. Write that book that you have been thinking about writing or make that song or whatever. However, think also about hedging yourself in different ways. Get that education, get that degree. Do the test that you're waiting to do for already a few years.  And that's also something important and not to forget. It's not just about the stock market. It's stupid for me to say with a YouTube stock investing channel to say everything is not about the stock market, but that's the truth. So I have to be honest. I'm sorry. All right. And I'll finish with the most popular hedging option of all. Options. If you learn about options, if you learn how to buy, put options on long portfolios, you can really be protected that's lower your risk without sacrificing too much of your returns. Of course, the cons of owning options is that they expire. So in the long term, it can be very, very costly to maintain that hedge position. Nevertheless, let's see what the SAP 500 options offer as a hedge. So this is the SAP 500 option chain. And if you buy put options, you are protected against any kind of decline from the SAP 500. December 2019 means that you're protected for the next two years. For example, the put options on the SAP 500 ETF that is now at 255 points costs $22.4. That's about 9% of the actual value of the SAP 500 divided by two years, you are somewhere 44.5%. If you go to a lower strike price, so you want to be protected, let's say at an SAP level of 2300 that whatever happens, you can always sell your holdings at 2300 points, then it's even cheaper. Then we're talking about 2.5% of your current portfolio over the next two years per year. I'm talking here. So if you buy a put, which is now very cheap because the VIX index is very low, the volatility is low because nobody expects turmoil in the next two years, the SAP 500 will continue as it is.  Everybody expects the past to replicate itself in the future. If you want to be protected, take advantage of these cheap put options. So by buying a put option of the SAP 500, okay, now at this level, you can spend 4% of your portfolio and you can sell it at any time you want at 2550 points per year and you're protected for the next two years. 2300 points even cheaper. So if you want to sleep well, if you want to take advantage of the possibility that the SAP 500 goes even higher to 3000, 4000 points, which is possible and you want to sleep well, okay, invest 4% of your portfolio or 2% and hedge yourself. If the return is 10%, you'll still have a nice return plus the dividend because you're the owner, you're long, the SAP 500 and you can be hedged. So it's not such a crazy idea. And this leads me to conclude on the hedges. A hedge is just another investment. It can be cheap, it can be expensive, it can be rational, it can be irrational, overpriced, underpriced, common sense and crazy. If you look at all those hedges that we discussed today, I'm sure you will find, oh, this hedge is now cheap for my portfolio, for my risk reward. And then you buy that hedge, you hedge in another way, I would do this, do that. And then in the long term, you create a very hedged portfolio. And if a crash comes, you don't care. And that's what good investors do. Everybody else will be annihilated in a crash and then leave investing altogether. If you're hedged, a crash comes, I don't care. If this comes, I don't care. I don't care. You are protected in any kind of environment. So really think about being hedged with what you're doing. One of the seven strategies, all of the seven strategies and all weather portfolio, I don't know what's best for you. So we'll keep discussing hedges, interesting hedges, interesting investment opportunities, extreme hedges, extremely cheap with huge rewards that are not only hedges, but also investments. The best hedge for me is let's say a gold miner or a different miner that protects me against a lot of things and gives me already a yield now. So that's the free hedge. If you invest in a hedge that's creating value, that's for me a free hedge because it's adding value to your portfolio. And if you have those hedges over the long term, you will have huge yields and you will sleep well. Over time, it's very important to rebalance those hedges as one increases, lowers in prices, becomes overpriced or underpriced. And then in comparison to what's going on in your portfolio, when you rebalance that you can expect constant returns over time, expect some volatility, take advantage of the long-term volatility end of the myopic market and your returns will be very, very sound and bulletproof. Thank you for watching. Keep watching for more interesting investments, strategies, looking forward to your comments and I'll see you in the next video.


Welcome back to this special edition of Out and About, because every edition is a special edition that we have here, but we are delighted and honored to have a guest back from a couple of weeks ago and before who you love, Dr. Karma Lexi Somo, and we're going to be talking about awakening through a pandemic in the face of death, tools for staying calm in the time of coronavirus. You know in this current moment in this pandemic that we're in, there's a lot of fear. There's a lot of potential loss of suffering, distress, uncertainty, and staying calm has been a major concern for everyone. What do the world's wisdom traditions teach us that will help us navigate this shared moment in human history? And it is shared. If you think about it for the first time, it's happening live around the world. So we are delighted to welcome back Dr. Somo, who's a professor of Buddhism and world religions at the University of San Diego, and a founder of Sakyadita International Association of Buddhist Women, and the founder and director of Viam Yang Foundation, which is a charitable organization that provides education to girls and women in India, Bangladesh and other developing countries. So thank you so much for coming back again, Lexi. Thank you. Aloha. Aloha. So yeah, it's been a very, we last met two weeks ago. And it seems like things are going by so fast. And yet a lot of people, you know, were sort of sheltering in place. So on the other hand, things seem very slow. So a lot is happening and a lot isn't happening. What's your perspective on what's going on right now? Well, I think it's a very special moment in human history. There is a lot of suffering in the world, as you mentioned. And it's also great opportunities for developing ourselves, our capacity for awareness. We now have time, ironically, to spend looking at inside instead of always rushing outside. So maybe we can use this opportunity for spiritual growth and not simply thinking about the externals, you know, material pursuits. So maybe we can turn it around, transform it into a teaching moment. If we can learn to calm our minds and quiet our minds, it's a great opportunity. Okay. And actually, I don't think we've done it on ThinkTech before, but why don't we incorporate a couple of short meditations in here, maybe one to get us going, and then one at the end of the show to center us and calm us for the day. So maybe you could lead us into a short one beginning. So folks at home, just, you know, join in. We will be done when Alexi lets us know and we'll continue on with the conversation. Okay. That's a wonderful idea. If we can incorporate stillness in our everyday life, it becomes a happy habit. We know that we can go to that place of peace inside, even if it's only for a few moments. And it really does help to offset the fear, anxiety, and craziness of this moment. So let's just sit comfortably, close our eyes, or slightly open, and relax into the present moment, being aware of everything that's going on around us and inside us. Very good. Now I think you've got it, right? It's a matter of just paying attention to the present moment. So we can do that. Whatever we are, any time of night or day. So just practice makes perfect, yeah? What does a day like, thank you for that, because it's, it was, it just takes a moment for us to just focus in and just be in the moment. Remind me of the title of the book, I'll be here by now, you know, and it's exactly what it's about. We're pulled in so many directions that it's, this is just so useful to just even take a brief moment like that and go on. You know, what does your day look like? How is it structured? Did you begin the day with meditation and then meditate throughout the day? Or is it an evening thing, or how does that look for you? Well, I like to meditate throughout the day, but especially in the morning and the evening. It's really important to start off our day by getting centered and calming down. First of all, just to be delighted that we're still alive. How often do we remember how fortunate we are to be alive? But that's what I mean right now in this moment. Every day that we wake up still alive is a great blessing, isn't it? So by taking a few moments in the morning and for sure at night before we go to sleep, it's important to put our mind in a positive quiet space before we drift off. But then we can also catch moments throughout the day. Just when we're washing dishes or washing clothes or sweeping or waiting for a call. Time that we might otherwise waste or get frustrated by. Use it as an opportunity to practice mindfulness. By that we mean mindful attention to whatever we're doing. So it doesn't have to be grandiose, it's very practical, it's very real moment to moment awareness. It's a chop wood carry water. There you go. Yes, so what it is what we're doing, just have attention on it. Even if it's not a meditation, it can be a meditation in and of itself. Right, especially now that we need to wash our hands, right? And people are still boring, 20 seconds. But in fact, that can be a mindfulness exercise. Instead of resenting it, we can appreciate it. We can appreciate everything. This is the thing. Instead of getting bored and upset, we can actually be comfortable, be completely content in the moment. And that brings great joy. So it's bringing awareness to whatever it is that we're doing, washing our hands, playing with the dog, going for a walk and being as present as we can in the moment. And meditation helps us with that focus and that concentration when we're just purely meditating being the moment, then also taking that outside into, I don't know if you call it walking meditation or living meditation or meditation and action, meditation and action sort of never stop meditating as we're being aware of where you are and what you're doing. You know, what is Buddhism? And if you had to choose another word for Buddhism or words for Buddhism, what would that be? I think we can just call it a path to liberation. So path to liberation means that we want to wake up and be free of all the things that make us unhappy. So getting rid of fear, getting rid of anger, getting rid of attachments and whatever causes us distress, right? So we can become liberated from all of the conflicting emotions, all the disturbing emotions of the mind and be completely present, completely content and completely happy in each present moment. So that's why they call it a path to liberation or a path to awakening, yeah? A path to awakening and awakening to what, to our Buddha nature, but what would that Buddha nature be? What would, what are we awakening to a sense of just life in the moment or? Awakening to the true nature of things, okay? Awakening to the true nature of things rather than our projection of things are the super imposition of fear and worry and distress that we put onto things, onto situations. If we can be completely present in the moment, awake to the moment, then we can be free from all of the needless worry and imposition of thought constructs, you see? We can see directly into the true nature of things as they are. And so for, for example, let's, let's look at what we're, you know, a lot of people right now, they're facing in the ultimate, I suppose, we're worried about our own deaths or the deaths of those that we love or maybe being sick or incapacitated or maybe less than that running out of money or, or maybe our relationships having trouble because of all of this. So when we're going to these things where I suppose at the end of the day, a lot of it might be fear of death. How can we not be afraid of death or if we're afraid of death, how can we get out of that fear and go into a moment like you're talking about? Okay. Well, first of all, I think we need to recognize that death is natural. Death comes to us all eventually. I mean, it's inevitable, right? So anything that takes birth inevitably dies, what arises perishes, right? So, and we never know when that may be. It could be today, or it could be 10 years or 20 years from now. We don't know. So if we worry about it, we're again, imposing some kind of expectation on our experience instead of being completely present in this very moment. This is the precious moment. But by worrying about the future, we miss this precious moment. You see, now we have time with our families and each moment of it is, is powerful and precious because we don't know how long it's going to last. So I think the idea of paying attention to things as they are helps to dispel that added worry and distress about, oh, how long is this going to go on? Am I going to have a job at the end of it? Am I going to get sick? Am I going to die? All of that in a way is useless thinking. It doesn't change anything, right? It certainly doesn't improve things. In fact, it actually impairs our present experience. You see what I mean? So how would that, if we're translating that to maybe I'm afraid to go to the supermarket or afraid to go to a hospital or anywhere and I'm afraid of touching the card or whatever that is, how do we get, how do we actually take recognize that, yes, the virus can be there and we want to protect our kupuna or ourselves and everybody? How do we take those necessary steps but take the fear out of it? So say, OK, I do need to wash off the shopping cart. How do you separate the fear from that so that it becomes a non-fear motivated thing? If you understand what I'm saying. Sure. Now, that's a perfect example to let go of the fear and come back to handling the present moment as best we can. The fear may actually distract us from doing what we need to do. That is making wise decisions, making compassionate decisions. So we want to choose the time if we need to go to the market. We want to go at a time that will have the least risk for ourselves and others. Right. But being afraid may impair our judgment on that. Set aside the fear, set aside the worry and just concentrate. OK, I looked online and it said that from, you know, nine to ten, the place is empty. That sounds like a good time to go, right? Then we also know that we could take a few wipes with us and help protect ourselves and others by wiping down the cart. Then we shop and we have a list so that we know exactly what we need. No more, no less. We can do it quickly, minimizes our risk and it minimizes the risk to others. We don't have to touch everything. We just touch the one we need, right? OK, and then we get in line spacing as as directed.  You see, so setting aside all that needless fear, those extra layers of anxiety and just doing what needs to be done in a wise and compassionate way. So it's sort of looking at it and I'm sorry, sometimes we have a lag or that is a sort of whatever it is we need to do, we can do it, but we take away that extra layer of angst or worry and just say, I need to go to the store, but I don't need to be afraid of this, but I just need to be aware that these this circumstance exists and the fear makes it worse, certainly. But are we motivated by fear in some ways? Is it fear there to protect us or to to guide us in some ways? Well, what are we afraid of? Basically, we're afraid of death. We're afraid of not being who we are. So we need to understand that we are impermanent by nature. And this is one thing that we can learn by direct experience. So this would be another object for contemplation and we can do it as an exercise. We can do it right now. You see, we have this illusion that we're permanent, that we ourselves, this eye is so permanent, is so precious, is so enduring. But that's an illusion. That's a fantasy. We are impermanent by nature and we can get in touch with our own impermanence through contemplation. Would you like to try it? I would. And I had a question to follow before because I. Please hold that thought and I know you can hold a thought. What don't we get to go on? So many of the world's traditions tell us that after this body goes are either we get to come back again or we go to a hopefully a better place, sometimes not always, depending on what your belief traditions are. Does Buddhism have anything to say about that? Yes, in fact, the Buddha sort of accepted the South Asian belief in further rebirths, multiple rebirths. We've been born an infinite number of times and we will continue to take rebirths depending on our actions. So but the important thing is how we live our lives, because if we live our lives with wisdom, ethics and compassion, we will naturally get a favorable next rebirth. We don't have to worry about it. So all the different religious traditions, all the different wisdom traditions have ideas about what comes after this life. But the important thing is to live this life as best we can with wisdom, compassion, mindfulness, right? So whether or not there is a future life or not, by living well, by living ethically, kindly, then we'll be in good shape for whatever comes after. So don't really worry about the afterlife as it were. Worry about this, not even worry about it at all. Just be here now in this life in a loving and kind manner as you possibly can be. Right. Well, right. This is the way they teach it is that death is inevitable. Death is definite. We can't escape it. Nobody's getting out of here alive. Right. Life is a terminal condition, they say in fact. Right. I remember one time I was in Dharmsala in India and I had hepatitis for the umpteenth time and I asked I went to the Tibetan doctor and I was completely yellow. So I asked the doctor, oh, am I going to die?   So, you know, this is the reality. This is the human situation. Right. Why should we be surprised? But the important thing is to focus on this life and to realize that death is definite, but the time of death is indefinite. Death can come at any time. We all hope it will be later rather than sooner. But we don't know. So in a way, this current crisis is a blessing. It's an opportunity to remember that death can come at any time and we need to be prepared for that. How do we do that? We prepare our minds to be calm and quiet and attentive. So in fact, rather than thinking about the afterlife, we should think about this very present moment and live it fully and meaningfully, right? Not just fit it away, waste it, but use each precious moment meaningfully, mindfully. And to that end, right now, a lot of people are wondering how can they be? How can they best be utilized? A lot of people are out of work now. We have got 37 percent unemployment in Hawaii, and it's probably going to go up from there, and they're probably rethinking a lot about what am I contributing? What's my purpose in life? What what is life? How do how am I probably at the end of the day? How am I of service to others? How am I of service to myself? Good suggestions as to what our responsibilities are to ourselves and others, especially at this time, we're times like this. Well, I think it's a very good time to reevaluate our priorities until now. We may have been completely focused on like getting a big pile of money or getting prestige or whatnot, accumulating material objects. But now in the face of this pandemic, we see that a lot of thought is really meaningless, right? It doesn't matter how much we have piled up. In fact, it can even be an obstacle. Sometimes the more possessions we have, the more worries we have, right? The more you have, the more you have to worry about.  And I think a lot of people are now appreciating quiet. Why is it that we've been just filling up our time with all these different activities, which often turn out to be a big castle, getting there, getting back, you know, the cost and all of that. Learning to enjoy each precious moment actually will let us let go of a lot of meaningless activities that we've gotten involved in. Our schedules no longer have to be packed. But and so re-evaluating and re-evaluating our priorities. It's like, what's it all about? Isn't in the end the time that we use to help others the most precious? And I mean, including being able to comfort others who are going through all kinds of distress, right? If we can calm our mind, then we can be a resource for others and help them to learn how to calm their mind also. In the end, they say, although death is definite and the time of death is indefinite, what's really important is our spiritual practice, our spiritual practice, meaning how well have we learned to control our minds? Yeah, how well have we lived our life? Sometimes my teachers, my Tibetan teachers used to say, the whole point is to live a good life and die without regret. And it may be, you know, the law of cause and effect that the Bible also talks about, what you read, feels so that if we do wholesome deeds, then we don't get we don't stay awake at night worrying about all the things we've done wrong, right? Yeah, right. Without regret and sleep well at night. You're right. It is it is never of our kindnesses that we repent. A quick question before we we we have a meditation at the end to bring us together, our minds together again or coherently. A lot of people are, you know, they're anxious about how do we open up? What's going on in the national scene? Is it too much? Is it enough locally? How do we how do we meaningfully engage with something like what's happening on our national stage, no matter our thoughts this way or that way? How do we can we stay engaged with that? Should we stay engaged with that? And how do we do that? Without going crazy or getting upset? All right, right. Well, I think we have to be mindful. We have to be aware of what's going on in the world. Yes, it's a tragedy that we don't have a functional government, that they're not attending to the the important things of the of the hour, the testing that we need and all the equipment that we need and the jobs that we need, but worrying about it is not going to help. I think signing petitions can help because it voices our concerns. We need to be more concerned about our health care workers. This is important that we influence our policymakers to the best that we can, at least we can try, right? To make our representatives aware of what we feel is important. It's important that health care workers have protective gear and we can make that known through a click of the months. So I think that's important. I think that's good. But worrying about the future. Oh, what's going to happen? You know, when is this going to be over? All of that is senseless because we cannot make plans now because we don't know how this is going to unfold if we tend to the present moment to be safe and try to urge others to take precautions. Then the thing will wind down earlier, right? I think this is just common sense, right? So we can contribute in a positive way because everything that we say and do affects others. We see that now. That's another upside of the pandemic is that we see how we're all globally connected that one person's irresponsible, irresponsible behavior or uninformed behavior can affect the whole welfare of the world. Right? So we need to be aware of our actions. It may seem like a bother to wash our hands for 20 seconds. But with a positive motivation to protect ourselves in order to protect others, then it becomes actually a kind of spiritual practice, right? We're doing this not only for my benefit, but for the benefit of the world. We're all interconnected. We're all interrelated. We have a responsibility to the world, to human beings, to the animals and to the earth itself. And that's we're coming up on 50th anniversary of Earth Day two days now. So that's it's a it's a this is the I've heard it called the Great Reset or a Great Awakening for us to reevaluate where our our priorities are. And also the Earth just to have a breather. We're reading these stories about animals coming out into, well, where they have always lived before humans have just sort of taken over. So we will get some we'll be able to come back from this and use this as a very powerful tool. I remain optimistic most of the time, except when I'm on Facebook too much. And I wonder about what's the responsibility of not pressing like or forwarding an article. I mean, that's probably where the rubber beats the road for a lot of people now, but I suppose if it's not calming, don't do it. But it's that line of how do you stay aware and informed without becoming too attached or agitated by that? So maybe at the point of agitation, it's a point to breathe in. And and see just take a breather, as we say. But speaking, taking a breather, maybe if you'd be so kind that we could have a meditation, our time always goes so fast, actually. And you will come back and we have a lot more to discuss about this. It's it's a very short time that we have. But if you could maybe lead us in a in a meditation to calm us and center us and to move on with the rest of our week, since we're on a Monday here, and then we'll come back from that. After maybe a few minutes, I got a nice gong here. So I will mind the time for everybody. So they'll give us a minute before we have to close up and say goodbye. OK, great. So with compulsion for ourselves and others, let's take a few moments to be aware of the true nature of our body and mind. Sitting calmly, straight, relax. We become aware of the true nature of our body. We tend to think of it as something very solid. But when we pay attention, we find that there is movement in our body all the time. We know intellectually that our blood is pulsing through our body. But how often do we sit and pay attention to it? So take a moment to try to get in touch with the changing, constantly changing nature of our body and our mind. We can start from the top of our head and just slowly move down and be aware of all that's going on in every part of our body. And if we reach our toes, start again from the top of the head and again, move down slowly, mindfully, completely aware of all that's going on in our body. Be aware of the mind also. Notice how it flits from here to there, often distracted by thoughts and images, sounds and so forth.  Noticing the impermanence of the body itself. OK, well done, well done. It's so good, it's so good. It's so important just to take a moment like that. I think we need to have a special show just where we're doing some meditations in and out if you will talk and make that happen. How's that sound? Sounds good. It is sad we must leave today, but I'm delighted, happy, overjoyed that we could have you on the show again. Actually, we will do this again. We have a lot more to talk about. It has been our delight to speak with the venerable Dr. Karma Lexi Sommel about awakening through a pandemic and staying calm in the time of coronavirus. I wish all of you a healthy, wonderful week ahead, a couple of weeks ahead, and we look forward to seeing you here every other week, think, text, out and about. Thanks so much.


Welcome to Monet Cafe. I'm artist Susan Jenkins. In today's pastel painting tutorial, we're learning how to create storm clouds. It would bless me if you would like this video. Leave me a comment and let me know what you thought and also subscribe to my channel. Also, you can click that little bell icon to be notified of future videos. And this video is brought to you from the faithful support from my patrons on my Patreon page. If you support this channel, you not only help free videos keep coming, but you also get extra content. Now, the surface that I'm using is pastel matte. It's the one I've been using on the last few cloud tutorial paintings. The color is light blue, even though it looks very gray. The reference image is from one of my patrons on my Patreon page, Cindy Sanford. I loved this photo. I'm speeding up my sketch here, but you may notice something a little odd. My reference image is upside down and I'm actually sketching it upside down. This is something I recommend you do or try. It will really help you to develop your sketching skills. Now I'm going to do a watercolor underpainting and I have a large watercolor palette that I use for my tube paints, but you could just use a watercolor set. I really like this little 36 Arteza set. It's affordable if you're a beginner and has lots of great colors. The pastel matte surface that I'm working on is obviously water friendly. Now look what I'm doing. I'm even doing the watercolor painting upside down. Why on earth would I do that? Well, it's because you can use gravity as your friend. A lot of times when you're painting, if you have enough water to paint mixture, your paint will start to drip downwards, which actually, when you flip it the other way, has your trees and other elements looking like they're reaching upwards. I have this real time right now, but in a minute I'll speed it up and you'll kind of get the idea. This is a Chinese watercolor brush. I like it because it's nice and wide and I like to have strokes that have energy and not too fussy and precise. Now I just got a Payne's gray, a dark, and it dripped on me a little bit, but that's okay. I just used a paper towel to brush it off and this is supposed to be loose and drippy anyway. I'm just getting in basic colors that's pretty much, I would say, local color. My colors are a little bit different than what you see in the reference image, but local color is when it's a color that's close to what you see in the scene as opposed to complementary color. But these drips of paint are, you can see they're kind of like spreading and reaching downwards and it really made a neat effect, I thought. I also decided on watercolor for this underpainting because I wanted the sky to be soft and you can see how much I'm looking at my reference image here. I keep turning my head, but I've sped up a little bit here just so we can get to the pastel painting portion. Now, yes, it looks like a drippy mess right now, but this is actually what's so neat about an underpainting. It's just a neat way to get a loose beginning and kind of a road map to getting started. Now I wanted my clouds a little taller. I think I made them a little short, but I also wanted that storm cloud to feel massive. So I'm reshaping it a little bit with the pastel and this is a, anytime you see me using kind of a rectangular pastel like this, it's probably a Terry Ludwig pastel. I did use a lot of unison pastels for this painting. I used the Unison 120 half-stick set. They had some brilliant oranges and just some pretty kind of fluorescent colors, but I'll try to talk more about my pastels as I work. Now, you might be thinking, wow, look at that blue. That's not really the color that I see in that cloud. There would be a tendency when I was first painting to paint that cloud gray or maybe a lavender gray, but I've learned over the years that what's going to make your painting sing is when you learn to embrace the beauty of layering pastels and layering different colors, the colors are going to play upon each other in this beautiful symphony of color that will really just be a treat for the eyes, you know, when you combine colors in this way. So you're going to see me use two, basically two main colors for creating this large storm cloud. The first is this blue and the next one will be a purple and I'm lightly keeping such a light touch. Even some of the underpainting is showing through at this point and that's a really great point to make early on is to not feel like you have to cover up the whole surface or every little space that's showing. I'm actually going to be blending this cloud a little bit in a minute. Now, here's the purple. So these two colors, the blue and the purple are going to blend together to kind of create a new color, but also some of the blue shows more in some areas and some of the purple and it's just a really interesting and unique final result. Now, the paper was warping a little because of the water. So I just taped them down and then I continued working with the purple and I usually am better about where I place my camera. You'll still be able to see what I'm doing here, but unfortunately you're going to see my old tired face as I keep looking back at my reference image multiple times. So pay no attention to that old woman. Just keep looking at my hand and what I'm doing. So now you can see it's going to be a little dark for a little while, but it will gradually lighten up a bit as I work. I'm also going to use this purple. Is this the same one? I think it's the same purple to get some of these wispy clouds up high. I loved their energy and their direction and they're going to look a little dark to begin with, but like I often say, a lot of my paintings will have dark to light in my order of pastels, the order of values that I put down and I'm keeping it super, super light touch here. And so I'm just getting down some of those clouds and then I'll gradually layer some lighter values on top of them. And this is still what I would call the blocking in stage. Now I do have my watercolor already established that was an underpainting, but still a little bit of blocking in with the underpainting. And but I'm basically trying to cover my surface before I get too fussy. Here's where I'm blending the cloud. I wanted it to look soft. It was a little too chunky looking. And I have found that just a tissue, the kind that you blow your nose with, it's very handy because I just pull them out of the top of the box. And I just kind of wrap them around my finger. I try to turn it if I'm going to change blend to a different color so I don't contaminate it. But I'm just lightly blending the blue and the purple together. And notice how soft this cloud is starting to look now. And it's really starting to feel more like a cloud. So again, this is the blocking in stage. We're just getting in the big shapes, the basic values and basic colors to get started with. And then we will let the painting evolve as we go. So definitely resist the urge to get too detailed too quickly. And I'm just lightly blending some of these clouds up top as well. And I also realized I need to kind of reestablish my sketch. So I just got a piece of charcoal. This is vine charcoal. And I'm just speeding this section up. I'm just kind of getting back in my tree line. There wasn't a whole lot to the composition other than you know, the clouds, well, the ground, the clouds, the sky and the tree line, the rest is all just about color and energy. And I love seeing a reference image or in real life, where trees look like spectators, like they are, I always personify them, I think of them as people looking up at the sky, and just admiring God's magnificence. He is truly the master artist, right? So we're just emulating him poorly. In my case, his clouds just fascinate me. That's why I made this month's theme in Monet Café clouds. And I'm a sky watcher, definitely. I last night I went outside and I saw the most beautiful blue I've ever seen in a storm sky. Because I live in Florida, we have a lot of storm clouds. And I'm on a tangent now. So let me let me stop and talk about this. I'm looking at the reference image and I'm just getting I call these color notes. I'm not getting too detailed. But I'm adding color where I kind of want to remember what's happening with the color. It was a little more gold in some areas, a little more pink in other areas. And I want to make sure I have my focal point is definitely going to be some of those trees. I'm going to have negative spaces there. And also another focal point strategy is where you have high contrast. Those trees are going to end up being the darkest thing in the image. So our eye will go to something dark next to something light. And I'm going to have some of that sky peeking through the trees that's going to be lighter. So that'll immediately cause the viewer's eye to go there. And now I'm actually going to darken those trees. This is just a little dark purple pastel super dark. It's so dark, it looks black. It's probably a little teeny Terry Ludwig remnant. They're known for their or many pastel artists just love their one dark. It's called egg plant. I believe it's V as in Victor 100. And I'm using this to get the foreground is quite a bit darker than the sky. So I just want to get some marks of energy down. I will be adding more darks to the foreground soon. So once again, working on just the basic colors that are in the sky. I'm looking at the direction of the clouds.  Some clouds are going to be a little bit more like supporting characters such as clouds that are more distant or more wispy like the ones up top. And some of them are just barely there like a whisper in the wind. And then of course, we have the sky in this particular case with the sunset. We're going to have many different colors in the actual sky. I recently had a question. I think it was from one of my patrons on my Patreon page, or perhaps someone in the Monet cafe art group on Facebook. We have a group of over 16,000 members that all want to learn about pastel painting, all different levels. We've got advanced pastel artist, very beginner newbies. And so somewhere along the line, someone to ask a question about the clouds that have what you call the silver lining. And I'm going to have my final result at the end of this will be a part of the cloud will have a little bit of that effect. But the question was, how do you make that stand out? They were having a challenge with the focal point maybe standing out. And I think it was because it was everywhere, you know, it was like in a lot of places that were too many silver linings. So we want to take it to a minimum when we have something like that in a painting that's a focal point, and let certain parts of your cloud are going to be just soft and barely there. And then other parts like that silver lining can have some drama, whether it's mark making drama, or contrast drama or color drama. So keep those things, though, to a minimum with your focal point. I like to think of it as where do I want my viewers eye to go immediately? And it was kind of, well, up to the cloud, but then you're kind of simultaneously seeing the cloud and those beautiful trees. And I'm going to have all those negative spaces in those trees before this painting is done. But I want the general flow to be coming in from the lower left up towards those trees up to the clouds over to those clouds to the left and then right back out of the painting, kind of the classic S shape curve. That's a really nice focal point strategy. So I'm thinking of those things as I'm painting. And I'm trying not to get too fussy on areas that are not the focal point. And the more you paint, the more these things you won't have to take notes and go I've got to remember to do this and you'll just kind of start naturally doing it and paint a lot. That's that's how you're going to learn to do these things. Now this color that I was putting in for the upper sky there, it's a little too teal right now. My my paper was had a little bend in it somehow. So I kind of had to work with that. But often you can have and my paper still curling that could have been what it was. I'm having to hold it down while I'm doing this often. If we find a color that's close, this will be good advice for beginner artists. But it's a little too too punchy, too bold. You can go ahead and use it and neutralize it, tone it down so that it's not stealing too much attention. And that's what's happening right now. This color is so bold that it's taking the attention away from my focal point, which is a lot is about the cloud. But you'll see I begin to neutralize this color as I work. And by the way, here's a little hint. Next month, the month of August, I don't know when you'll be watching this video, but currently, we're almost into August 2022. And the theme for August is going to be neutrals and using neutrals to really make your painting come to life. The power of neutrals is amazing. Now is where I'm going in and adding more of that dark foreground. This is a super dark green. It's like a foresty green. Once again, it's a Terry Ludwig pastel. They have an amazing set of darks. They have one called darks one and darks two. I started with I can't remember. Well, I think I might have gotten both sets, but I think the dark set number one is a great set to get if you can only afford one of them and they're not cheap guys. These nice pastels, like Terry Ludwigs, like Unison, Sennelier, they're pricey. And but I say if you're if you're getting serious about this, it would be good to get a nice set and some darks. I have one time recommended in one of my videos, the Unison 120 half stick set as a nice beginner set. And I should have been more clear about it. I mean the beginner that goes, okay, I'm liking this, I'm going to do this. It's a nice set because you don't have to buy a whole lot of other sets. I think it's that one's probably like 300 something plus dollars. But another set I've been recommending a lot lately is the Sennelier 120 half stick set. It's about 100. It's less than $140 on Amazon right now. I'll share it in the link in this video or in the description of this video. It is such a great set because for less than $150 to get a set of 120 pastels, now they're half sticks, but they have gorgeous colors in there. Okay, now I'm neutralizing the sky a little bit. You see how I toned it down with that kind of neutral color I have. So hang in there guys, if you're beginners and you're working with colors that you may not have exactly what you want, there are little tips and tricks that you can do to change the colors a bit. Like I said, to neutralize it, I'll be talking about that more with next month's theme. And by the way, other than speeding up the little bit of the sketch, a little bit of the watercolor underpainting, a lot of this tutorial is real time. So I know that helps a lot of you guys out when you're just starting and you kind of like to see my strokes not sped up. This is a nice little neutral kind of lavender purple. And I believe this one is from a set. I'm going to show the set in a little while. It's for painting clouds. It's a really great set. It's by Mount Vision. I happen to love Mount Vision pastels and they happen to be right in my area where I live. I live in the Tampa Bay area in Florida. And Mount Vision makes a great soft pastel. And it's a nice large pastel. They don't have half sticks. They have only full sticks. But the set called Thunderstorm Gray. I mean, it speaks for itself, right? It has a lot of storm cloud type of colors in it. So I'm pretty sure that's what this one is from. I can't tell if what I'm holding is round or kind of rectangular Mount Vision pastels are rounded. And and round pastels have certain neat things you can do with them, like rolling them. There's a set right there, rolling them, making grasses. But rectangular ones have their own assets as well. So now I'm picking a couple of these purpley colors. And I'm going to be using it again. It looks a little dark right now. But I know that I'm going to soften it up. I want certain areas to get more attention than others. So I'm just giving it a little bit more contrast by putting some darks in and pulling the eye up. Those clouds are basically doing a focal point strategy that's called I think it's called convergence. I always call it pointing, literally taking the viewer and pointing them where you want to go. So again, coming in from the bottom left around to the tree up to the cloud, up to those clouds I'm working on now and leading the viewer up. And you'll see me now using one of the Mount Vision pastels to just lightly glaze over some of that those cloud shapes and kind of tone down some of the areas while I leave a few other areas a little more prominent. And like I said, I'm sorry for the footage in my head being in the way. But one advantage is that while I've been working, you can see how many times I'm looking at my reference image, which is obviously to my right. I think I move it later to be to my left. But draw or paint what you see, not what you think you see. There's a tendency when we're first starting to paint a cloud like our brain tells us what a cloud looks like. But it will benefit you greatly if you really check out your reference image and look at it a lot while you're painting. Now you can see I added a little bit of that lighter peachy color to the undersides of some of those upper clouds. The upper one's kind of in the middle and to the right. And I'm using a little bit of this peach here. It's it's kind of a neutral peach, a lighter neutral peach. And I'm toning down some of the areas that I've already added some color to later. You'll see me come back and really get some color that's real punchy in certain areas again, trying to keep my focal point strong and beautiful for this painting. Now I'm taking this darker pastel and putting in a few clouds that are really far away and I'll soften those up a bit too. One thing that is of utmost importance, probably should have talked about it sooner, but I have in my other cloud tutorials, is where is your light source? So where is it in this painting? Well it's behind the clouds. Behind the clouds looks like it's kind of to the right and maybe lower right. Not totally down at the horizon line, but somewhere back in there. And what's happening is the light is shining up onto some of the undersides of those clouds that are up high, thus giving them that glow, that pinkish tone. And I know too that what how light behaves is things closer to the light or sunlight are warmer. Things further away start to get cooler. So that's why in the upper clouds I put pinks instead of orangey colors. It's a little further away from the sun. It's going to be cooled off. Now I got another angle here, but I still didn't get my big old head out of the way. I don't know. I don't know what happened. You know, it's like I tell you what guys filming yourself while painting is more challenging than you might think. And sometimes you get it right and sometimes you don't. Okay, I zoomed in a little bit more here. Here's where I'm doing some of the negative shapes. I'm taking some of these pretty, pretty fluorescent kind of colored pastels and just getting in some of that focal point color that I want to really be exciting. And I'm just kind of carving in the shapes in between things, even some of those grasses that are sticking up there. I am going to speed this up ever so slightly for the rest of this video. It is trust me, it's not so fast that you can't see what I'm doing. And in a minute, I'll be adding some music, but I wanted to make another point. I noticed while I was painting, and it was pretty much what was in the photo as well, I was seeing a shape in the cloud. I was seeing an elephant's head, that larger kind of in the middle where there's a bump and a trunk kind of coming up. And then I was seeing some kind of weird little blob to the left, like that area right there. So I decided later, you'll you'll be able to observe me doing this to soften those areas a bit and subdue them a little bit more. So everything didn't look very flat. And to kind of break up that shape so that it I wasn't it was driving me crazy. So I thought maybe somebody else might see that too. It's funny how those things happen, even in nature. Well, that's what happens, right? We look up at the clouds and we see shapes. But I didn't particularly want an elephant to be my cloud shape. Here, I'm softening up with a little bit of a tissue. So I'm going to add some music. Oh, I gotta say something else. I'm adding some pizzazz with some brighter colors now, even some little light highlights and some of the distant sunlit areas. And this is when it starts to get fun going in with some of these bright colors, adding the negative shapes. Oh, I might as well keep talking here. Here's where I'm giving a little bit more contrast to a certain area of the cloud. Because this is where I'm going to add that silver lining in that main shape here. What I'm doing is I it looks a little weird right now, but I gave it a little bit more contrast, a little dark. And I'm going in and kind of carving in some of the little shapes that I see. I didn't get it just like the cloud and a little bit of a lighter edge. And that will give you that feeling of that light just shining right behind that certain area. You see that? You can kind of see that now it looks more like a focal point right there. And you can see how I softened up my my elephant shapes there. Before I add the music, I just want to make a few comments and announcements. One is that I am going to be one of the featured artists on Pastel Live. Again, this you could be if you're watching this video after August, this is not going to apply to you. But if you're currently watching this video as I just posted in August, it's August 17th through the 20th. There's an event called Pastel Live. Now they're pre-recorded lessons, but the artist are going to be with you live as you watch them. And what it is is 30 of the world's best Pastel Artist all giving you tutorials. And like I said, you can chat with them during the lessons. You will have replay access to all of the lessons. And I'm telling you, these are some of the best artists, Pastel Artist in the world. I was so honored that they contacted me this year to be one of the artists. Now I'm doing Beginners Day. It's August 17th and it is, well there's discounts if you register now. If you get too close to the event, you won't have the discount. I can't remember the exact prices. But if you register before the discount period is over, the Beginners Day is less than $200. I think it's $197 for that day. And then I think the next level to get the remaining three days is around $300 or $400 for that. But I'm telling you, for that money, you will get an amazing Pastel Education and experience like you can't believe. So I'm excited. I'm going to be there. I'm going to be watching all of these other artists paint as well. And there's all kinds of neat things. There's little breakout forums and fun stuff like that. So it's definitely going to be the place to be if you are wanting to learn more about pastel painting. So I'll have a link in the description of this video where you can click and go read more about it and sign up if you want. And I'd really appreciate it if you go to it by clicking the link in this description of this video. I get some credit for it. If you do, I mean you could type in Pastel Live in your search bar. But if you click my link, that helps me out a little bit. So that'd be awesome. Also too, if you recreate from any of my tutorials and you're not a patron of mine, my patrons have a homework album. I get to see what y'all do. We get to chat more. I have a private Facebook group. So there's a lot of little extras by being a patron of mine for only $5 a month. And you can cancel at any time by the way. But if you're not a patron of mine and you recreate from this video, you can share it on Instagram and tag me. It's always artist etiquette if you recreate from someone's tutorial to mention the artist. But I love it when you tag me and I can see what you do. And on Instagram, my account is at Susan Jenkins Artist. And you can also tag me on Facebook. I have a Facebook page. It's the art of Susan Jenkins at the art of Susan Jenkins. So I love to see what you do and I love it when you tag me. Now, I guess I'm not adding the music. Here I am adding, what am I doing here? Where's this color coming from that I just added in those grasses? Well, I didn't see it in the reference image, but it's a way to make your painting be connected, have harmony and come to life. What's happening is color from the sky is echoing down onto the land. And when you add those colors onto the land, your painting is just going to feel so alive and full of life. And make sure though you keep your values right. You can have fun with the color, but notice the values I'm adding aren't too light. And the ones that I do add in the grasses that are a little bit lighter, they're going to be the ones that are reaching up over the kind of the tops of some of the other grasses, and they're catching a little bit of that that light from underneath those clouds, like these right here, a little bit lighter. And they're just some fun little blades that are saying, hey, I'm wanting to see that sunset, too. So that's a way to really connect your painting is to reflect some of those sky colors down onto the ground. All right, thanks for bearing with me through those little announcements. Now, I really am going to add some music. We've only got like two minutes left, so enjoy this. Feel the peace of the moment. Wasn't this a beautiful scene? I just love this reference photo. So enjoy this music and I will be back at the end. Well, there's my big head again, but I am getting close to the finish here, getting in a few other little darks to reshape these trees and my little simple signature. And by the way, I think this took about about two hours. I really hope you learned a lot with all of my jabbering and my big head in the way. Please leave me a comment. I would love to hear from you. Here's a close-up view for you. And if you're a patron of mine, I can't wait to see what you do in the homework album. If you're not a patron of mine, it would be awesome. If you would like to become one, it's super easy. Only five dollars a month. You can cancel it anytime. So subscribe, become a patron, check out more videos. God bless you for being here. And as always, happy painting.


Hello everyone, today we are going to see the design of microproprocessor. Learning outcome at the end of this session students will be able to design the different tables of microproprocessor. Now here this is the schematic of the microproproprocessor. So for the input is given to the microproproprocessor is the assembly program with micro definition and calls. So here the microproprocessor translates that program and it generates the program without micro definition and micro calls. So this program is given as the input to the assembly. Assembler generates the target program for the given assembly program without micro definition and micro call. Now next we see the data structures of the microproprocessor. There are nine data structures are there that are used in the microproprocessor. So here there are two fields are there tables and the fields in each table. So for the first table is the micro name table. So it is represented MNT and in the second column they represent the fields in the respective table. So in the MNT table there are seven fields are there. First field is the micro name, second field is the number of positional parameter. It is represented by the variable hash pp. Third is the number of keyword parameters. It is represented by the variable hash kp. The next field is the number of expansion time variable. It is represented by the hash ev. Next field is the mdt pointer, micro definition table pointer. It is represented by the variable mdtp. Next field is the keyword parameter default table pointer. It is represented by the variable kpdtp and the last field is the sstap pointer means sequencing symbol table pointer. It is represented by the variable sstp. So this is the first table. Now the second table is the parameter name table. It is represented by the pn tab. It is having only single field parameter name. The third table is the expansion time variable name table. So it is represented by ev and tab and it is having only single field ev name means here we specify the expansion time variable name. Next table is the ssname table, sequencing symbol name table. Again it is having the single field sequencing symbol name. Next table is the keyword parameter default table. It is represented by kpdtab. It is having the two fields parameter name and the default value. Now the next table is the micro definition table. It is represented by mdt. It is having the three fields label, opcode and operands. Now the next table is the ev table expansion time variable table. So here the the value of the expansion time variable is stored. So here it is having only single field value. Now the next table is the actual parameter table. So it is represented by ap tab. So here we specify the actual value of the parameters. Next table is the ss table. It is represented by sequencing symbol table. It is having only single entry mdt entry hash. Now next we see the example. So here this is the micro definition. So in the given micro definition the name of the micro is clear m. It is having the three parameters ampersons x, ampersons n and ampersons register. So here ampersons x and ampersons n are the positional parameter and the ampersons register is equal to a register is the keyword parameter. Now first table we built is the pn tab parameter name table. So here we specify the parameter name in the given table. So here there are three parameters are there and the name of that parameter is x, n and register. So we enter that parameters in the pn tab. So first we enter the x, next we enter the n and next we enter the register. So this is the pn tab parameter name table. Now next we generate the table keyword parameter default table. So here we specify the name of the parameter and its default value. So here the name of the parameter is register and it is having the default value a register. Now similarly next here we see the micro call for the given micro. So here the name of the micro is clear m. The first actual value is area and the second actual value is 10. Now next table we built is the actual parameter table. So here the first formal parameter is x.  It is having the actual value 10 and the register is having the default value a register. So here we enter the actual values in the given table actual parameter table. So here first we enter the area, next we enter the 10 and next we enter the a register. Now similarly we process the next statement lcl ampersand m. So here lcl ampersand m is creates the local expansion time variable and the name of that variable is m. So here we enter that variable in the table ev and tab expansion time variable name table. So here we enter the name of that variable the name of that variable is m. Now the next statement we process is ampersand m set 0. So here the set statement assigns the value 0 to the expansion time variable m. So we enter into that value into the table ev tab expansion time variable table. So we enter the value 0 in that table. Next we generate the table assassin tab sequencing symbol name table. So for the given micro definition there is a one sequencing symbol is there and the name of that sequencing symbol is more. So here we enter that name of that symbol in the table sequencing symbol name table. Now next we generate the table micro definition table. So here 25, 26, 27, 28, 29, 30, 31 these are the micro definition table pointer values. Now here first we process the statement lcl ampersand m. So for this statement we generate the specification here first of all we write the lcl as it is and for the ampersand m. See ampersand m is what it is the expansion time variable. For the expansion time variable we generate the specification in the form e, hash n. So e indicates it is the expansion time variable and a hash n it indicates the entry number of that symbol in the given table. Here e is it is a expansion time variable and here one indicates entry number of that symbol in the evn tab. So here ampersand here ampersand m means the m symbol it is enter in the table at first. So that is why here we specify 1. Similarly we process the next statement ampersand m set 0. So again for ampersand m we generate the specification e comma 1 next we specify set and next we specify 0. Now the next statement we process move r ampersand gistro comma equal to 0. So here first of all we specify the operation code move r as it is. Now here ampersand gister again for the register also we generate the specification p comma hash n. p indicates it is a parameter and hash n it indicates the entry number of that parameter in the table. So here for that we generate the specification p comma 3. So here p indicates it is a parameter and 3 indicates the entry number of that register symbol in the given table. Now next we specify equal to 0 as it is. Similarly we process the next statement move m ampersand gistro comma ampersand x plus ampersand m. So here first of all we specify the operation code move m. Next we generate the specification for ampersand gister. So again register is what it is a parameter. So here we specify p comma 3. 3 indicates entry number of that formal parameter in the table. Now next is what ampersand x. Again x is the parameter. So for that also we generate the specification in the form p comma hash n. So here p indicates it is a parameter and hash n means what it is a entry number of that parameter in the table. So here we specify the 1 because the x parameter is enter in the table at first position. So that is why here we specify 1. Now next is what we specify the plus symbol and ampersand m. Again m is what expansion time variable. So for that purpose we generate the specification e comma 1. Now next statement we process ampersand m set ampersand m plus 1. So again we generate the specification for the expansion time variable. So here we specify the e comma 1. e indicates it is the expansion time variable. 1 indicates entry number of that very symbol in the table. Now next we specify the set statement. So here we specify set. Next we generate the specification for the ampersand m. So again m is what expansion time variable. So here we specify e comma 1. 1 indicates entry number of that table, entry number of that symbol in the table even tab. Next we specify the plus symbol and next we specify 1. Similarly we process the next statement aif ampersand m any n dot more. So here for that statement we generate the code aif. Here ampersand m again it is expansion time variable. So here we specify e comma 1 any it is not equal. So here we specify not equal as it is n. Again n is a parameter. So for that parameter we generate the specification in the form p comma hash n. So here p indicates it is a parameter and hash n it is indicating the entry number of that parameter in the pn tab. So here for that n we specify the specification p comma 2. Next we generate the specification for the sequencing symbol. So again we generate the specification for the sequencing symbol more. So for the syntax is s comma hash n. So s indicates it is a sequencing symbol and a hash n it is indicating the entry number of that sequencing symbol in the given table as a sent tab. So here the more symbol it is the entry number of that more symbol is first. So that is why here we specify first. And the last statement we process is micro end statement. So we write as it is. So here in the micro definition table we store the micro body. Now next table we generate is sequencing symbol table. So here we specify the MDT entry hash means what? Here in the micro definition table which statement is containing the sequencing symbol. So here you can see here you can see in the micro definition at the line number 28 it is containing the sequencing symbol. So that is why here we specify 28. Now the next table we generate is the micro name table. So here the first field is the name. So the name of the micro is clear m. Now the second field is hash pp means number of positional parameters. So there are two positional parameters are there for the given micro definition. Now the next field is hash kp it indicates number of keyword parameters. So there is only one keyword parameter is there. Now the next field is hash ev. So it indicates number of expansion time variables. So again only single expansion time variable is there for the given micro definition. Next field is micro definition table pointer. So here the micro definition table pointer is starting at the position 25. So here we specify 25. Now the next field is the keyword parameter default table pointer. So here the value is 10. At the entry number 10 the value will be stored. In the last field is the sstp sequencing symbol table pointer. So the value of that pointer value is 5. So here we mention the 5. Now after saying the concept can you tell me when the definition of sequencing symbol is encountered and entries added to dash the options are p and tab. Next keyword parameter default table. Next SSN tab sequencing symbol name table and the fourth sequencing symbol table. Pause the video and think about it. The answer is we enter into the sequencing symbol name table. These are the references. Thank you.


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