Good evening, everyone. Welcome to another episode of We Are Being Transformed. This is contrary to popular opinion and rumor, not a Transformers podcast. This is a podcast where we discuss the myriad of ways in which people, both in antiquity and in the everyday world, are transformed and mold their culture into new and exciting things. And that includes literature, it includes ritual, it includes cult, magic, all that stuff. And joining us today, I have the great honor of welcoming Dr. Timothy Whitmarsh, who is someone who knows a thing or two about the topic we're discussing tonight, which is the Greek novel. So Dr. Whitmarsh, how are you doing? Very well. Thanks, Jason. Thanks for having me on. Thank you. The honor is all ours. So tonight we're going to talk about this phenomena that's kind of ubiquitous for a few centuries and the antique Greco-Roman world, which is the Greek novel. Now I want to preface this by saying that novel, like any other kind of label, whether it be like Neoplatonism, Second Sophistic, Gnostic, etc., these are terms that they didn't use at the time. They weren't self-deignations, but for the sake of brevity and simplicity, we will call it a novel. So Dr. Whitmarsh, can you give us a brief rundown of what the Greek novel is, what drove its popularity? Well, there are two different questions, obviously. What the Greek novel is, what we conventionally mean by the Greek novel is one of five texts that are extended fictional narratives dealing with young love, essentially girl and boy, heterosexual young love, girl and boy fall in love at the beginning. They either get married at the beginning or get married at the end, but marriage is important to the dynamics of the narrative. And then they have some sort of separation and they have to, if you like, prove the enduring quality of their love through that separation with all the trials that come with that separation, including love rivals, shipwrecks, that kind of thing. But at the end they get back together again and there is a sort of implicit happily ever after to them. That's the basic structure of the Greek novel, but as you could imagine, it's a literary form and there are all sorts of ways of twisting it and playing with it. So whilst that description of it sounds a little bit sort of boring and earnest and as if it's socially programmatic and focused on the heterosexualization of the young and the normative role of marriage and all that sort of thing, there are all sorts of subversive undercurrent in it that test out the limits of that ideology, if you like. Absolutely. Thank you for that answer. So I guess getting back to the second part of that question I was asking, what exactly drove its popularity at that time? What was it about them that made them so appealing? This is a really interesting question. The novel seems to be new to the Roman Empire. We have maybe a few traces of things that might be called, if you squint at them, might be called novels in the period before the so-called Hellenistic period. But really, our first Greek novel, as I defined Greek novels then, appears in the mid-1st century AD and it seems to be a big hit. It seems to be that it spawned many imitators. It influences many other genres other than the Greek novel itself. So that first text is Caratone's Caleroi, which is an absolutely amazing text. And for a number of reasons, one of them is that it's female centered. The figure Caleroi, the figure of the title, is endures domestic violence, is left for dead, is kidnapped by slavers, is sold into slavery, contemplates the termination of her pregnancy. And by the end of the novel, she's had such an extraordinary array of really damaging life experiences. But she's reunited with her husband, the former domestic abuser at the end, and brought back to Sicily, which is her home island. And at the end of it, you get this very weird mismatch between her experience and his experience because he's asked to tell the story of what happens, what's happened so far. And he stands up in the assembly in front of all of the citizens of Syracuse, the city on Sicily, where they've reunited. And he tells the story as he understands it, but of course he doesn't know the full story. He doesn't know Caleroi's side of it. There are things that she's kept from him, including what happened to their child, for example, which is palmed off as someone else's child. So it's a really strange novel that centers female experience. It really gives all of the narrative energy and the emotional sympathy to the woman and leaves the male figure as a rather sort of useless and also morally problematic side figure. So why is a text like that so fascinating in the Roman Empire? I mean, at one level, it's got to do with the Roman Empire's space. These are, as I mentioned earlier, the travel narratives, people move around space an awful lot. These are texts also that themselves circulate around space an awful lot. We know that we can see them traveling around the Roman Empire with papyri found here and there and the like. So they are about describing a bigger space, a bigger canvas of action, if you like. Even though Caleroi, the text I was just talking about then, is set 500 years earlier in the time of classical Athens. It really is a text that's about the experience of being within the Roman Empire. And all of that, that language of those scenes of enslavement and the like, they use Roman imperial language to describe the fact of enslavement and the legal status of the slave and the like. So they do seem to be about the mobility of the Roman Empire, the interconnectedness of the Roman Empire and the ugly side of things like people trafficking in the Roman Empire. At the same time, whilst they've got this sort of expansive imperial vision. I think what we see in the Roman Empire generally is the creation of a, if you like, a sort of Newtonian counter reaction to that desire to move outwards is a desire to move inwards into the self. So there's an awful lot of interior monologue in a text like Caleroi when she's contemplating what she will do in all these sort of crisis situations, awful situations where she doesn't know what to do. She's got an unborn baby on the way.  All of these pressures playing on her, but you get this sort of this calculation inside. She's having to weigh out all of these different feelings. So it's about interior space as well. It's about the desire in this era to have a more reflective approach to life, to have to understand what your options are better to analyze those options to give space to the emotions that conflicts play out in your mind. So yes, I would say that's what makes them popular at this time. They really speak to the Roman experience of space as simultaneously expanded and contracted. Well said. Well said. Thank you for that answer. Yeah, I think, I think not just back then, but I think even now, like, when I read Carrie Tom, like, back in college so many years ago, like a millennia ago, that's what struck me just like the interior pathos that was going on with clear away and just the gravity of her decisions that she had to make. And but despite all that, and knowing probably what we know about the woman and her place in the society at this point in time, she's very defiant in the face of like all these decisions that are thrust upon her. And that's what always constantly grabbed me about her story. I think another thing that you mentioned in there that I just wanted to touch upon before we get to the next question is, you mentioned how the male protagonists like Kyrius, and later we'll see, you know, they're basically useless. They're unreliable narratives. They're, they're, they're the ones telling this story. But I think even throughout all that you can see like who the real heroes and heroines are in a sense. And that's what I really love about these stories. And I think really with Carrie Tom, laying that foundation, that's probably he saw some Mr. Somebody like Achilles Taysias saw like missed opportunities that he would exploit in his later work. And I think he did that quite masterfully. We will get there. So, you know, I guess going along with the question of how why were these so well received I think is tied another question overall, which is highly polarized, but we have to touch upon it. And I know this is really highly debated in scholarship and always has been. But if we could just generally pause it and answer or just I'm asking maybe your responsible speculation on this. Who was the audience for the Greek novel. I would say that. I mean, alongside the Greek novels, we have a lot of other fictional narrative literature of this era, and the this clearly a widespread desire amongst all strata of society for fictional exciting fictional narratives. And even the illiterate presumably had ways of accessing this kind of material through. I mean, in the medieval period, we know of reading groups, for example, so you only need one literate person to be able to tell a story. I mean, the prime example of a popular novel is the so called Alexander romance, which is a fictionalized version of the life of Alexander, which we have. It's anonymous, which is a good sign of it being a popular text because elite texts tend to be linked to a particular author because they have ambition and the author is trying to get curious if you like by being remembered by posterity. The Alexander romance is anonymous. It circulates in multiple different forms in antiquity. It's translated into many different languages already in antiquity and increasingly into middle ages and beyond. It has all the hallmarks of a popular text that would be enjoyed by all sections of society. So I think we need to remember that there is, you know, in a world in which literacy is growing and in which the opportunities for access to texts is growing. And in which we've increasingly got a sort of cultural homogenization, I mean, within very large limits, but you do get a sense of a common Greco-Roman culture over a wide space. The texts, popular narrative texts do spread to a very large audience. And there are other examples of that.  The most famous version of this is Appaleos's golden ass or metamorphosis, which is a high status literary text, but it's a sort of translation into a high status elite text of a popular tale of which we have another version from antiquity. There's the so called life of Esop as well, which is a tale about the famous fabulous, the composer of fables, Esop, who is a slave in this version. He's enslaved and he runs rings around his master. He's much cleverer than his master, although his master is a philosopher. Esop is the real kind of narrative energy. So it's a comic tale of subversive energy from below, if you like. There's a lot of popular literature. The novels that I was talking about, the romance novels, one of them, the romance of Xenophon of Ephesus has strong popular elements to it. The other ones I think we can fairly safely say are heading towards the elite and most of them certainly in the elite sphere and you can map this out by things like literary illusion. The minute we start having complex allusions to works of classical literature, it doesn't rule out the possibility that a wide spectrum of people would have enjoyed them. But we know that amongst the readership, amongst the intended readership must have been people who were pretty educated. And education means money, obviously. Right, absolutely. I mean, if you're participating in any kind of idea, there's significant resources involved there. That's just no question that people think student loans and debt are bad today. Nothing on antique idea. But yes, thank you for that answer. That was amazing. I think another thing that just really strikes me about these texts is we were talking earlier about how they conceptualize space, inner and outer space, right? So you have the changing of a world. You have these people, pretty much, we tend to romanticize it. I know in the classics there's this sense of romanticizing what Hellenization and the Roman Empire did. This wasn't just like imbuing culture in a romantic sense. This was like subjugation. This was like, yeah. And so people are trying to make sense of that in a changing world. Also, like the interior is changing as well. And that's something that I just, like you said, Terry Tom kind of, he lays the blueprint. But you know, you see people like later, like you were saying with Achilles Tejas or somebody like Xenophon, they really, they play with that. I think he really touched upon that in your text, Narrative and Identity in the Greek Novel. I read that quite well ago. But that's probably another can of worms we can discuss another time. But yeah, I wanted to point out something to general audiences that they aren't exposed enough to. And it's not, the Greek Novel is in its ascendancy at this time. But there's also another genre. I don't know if you want to call it genre, but there's another kind of form of literature that's kind of growing. And that's the Gospel and Axe literature. And this is so much that P. Reardon has probably argued in his collected Ancient Greek Novels edition that the Axe literature even should be considered part of that kind of world. But you know, they're both growing at the same time, both share similar motifs. Maybe you can't prove genetic links, but this is more speaking to what people are enjoying in their literature and what they want to read and what they want to hear about. So both have these similar motifs. You have lots of shipwrecks, lots of empty tombs, crucifixions, lots of resurrections and epiphany, strangely enough. Especially in Kalero, it's all over the place. They're always like, oh, she looks just like, you know, the goddess. So I just, you know, and the trial is especially popular no matter what type of literature you're reading back then. Everybody seemed to love that, like go anywhere from Apollaeus' Apologia to, you know, any of the five canonical Greek Novel texts. Like the trial is the center of the text. And strangely enough, it's the center of the Gospels as well. So I was wondering if you could discuss these motifs, not maybe necessarily in regards to the Gospels, but maybe adjacently to what these motifs are found. What kind of motifs are found in the Greek novels and why are the striking similarities there creating such a stir in people? So there are two ways of explaining it, aren't there? One is that both early Christian literature and the novels respond independently to the same kind of forces. And the other is that there is some sort of connection between the two and that one form is influenced by the other. To think about the first first, I mean, I mentioned the role of sort of the Roman imperial conception of expanded space, simultaneously creating a space for interior space. And obviously one can map the emergence of Christianity into that kind of scheme if you want to. The Acts of the Apostles, but also the letters of Paul already detail, you know, the creation of a huge network of Christian communities, which is sort of translocal. It doesn't exist in one space. It actually exists in the network between these different communities. And at the same time, what these communities are being asked to do is to look after the lives, the interior lives of people in the communities. So it's about being interconnected in the space of the Roman Empire. And at the same time about focusing on the self and the management of the self and the appetite needs, desires, whatever individuals. So there are all sorts of ways in which structurally the Greek novel emerges in step in lockstep with early Christianity. But I think there are also strong indications that what we see in the Roman Empire is a very fluid sharing of ideas and resources and themes between large groups of people. We have to remember that we don't have the Christians over there and everyone else over there, even though a certain amount of Christian literature pretends that these two groups are sort of live in different places. But there's been great work done by Eric Rebiar at Cornell, amongst other people, just showing that that's a bit of a fiction, actually, that Christians are sort of the same people as pagans in the Greco-Roman world. And indeed often, you know, Christians are worshiping other gods as well simultaneously. So there's an awful lot of mingling between Christians and non-Christians and blurring of the edges as well. So when you get in Achilles-Tatius, for example, and he's writing in the, I think the 130s, some people say the 170s, but the 130s, so sort of quite early for the development of Christian literature. He has this scene where Dionysus invents wine and gives it to humanity in the beginning of book two. And it's said to be a sort of a charter myth for a Phoenician ritual around Dionysus. But he gives the grape to the farmer and says, take this, this is the blood of the vine. And it's so much like Jesus at the Last Supper. It's almost exactly the same language, Jesus giving the Last Supper to the disciples. Dionysus and Jesus are often interlinked.  Some people say that the gospel texts themselves have Dionysiac elements in them. But that's the idea that Jesus and Dionysus work in similar sorts of worlds. They're both gods of the afterlife. They're both gods of salvation. They're both gods of transforming water into wine, as in John's Gospel. So, you know, there were also those which... I didn't mean to interrupt. I was just going to say, yeah, I read an article by a scholar named Courtney Friesen. Yeah. Yeah. He's the one who went through book two of Leucopy and Clotophon and transposed it with Mark. I was very convinced by his arguments. So, yeah, it's definitely things going on there. Yeah. It works the other way as well. I mean, the Greek novels centre on these sort of stories of endurance over time and, you know, the lovers display their commitment to each other despite all the hurdles that go on. And these narrative motifs are sort of transported out of the Greek hole into Christian hagiography where, of course, it's not erotic devotion to the other that is being performed, but it's, you know, pious devotion to God. But it's the same set of motifs and the same language and the same sort of narrative pattern. So the Greek novel immediately with its, you know, success in one sphere bleeds out into the Christian sphere as well. Amazing. Thank you for that answer. Yeah. I think the only thing I have to add to that is just going back to the previous two questions about why these things were so compelling and who the audiences were. I was talking to a scholar named Edward Watts about Pidea and about, you know, just what, you know, when you're writing, when these cultural elites are writing, like somebody like Lucian is expecting you if you're in that same kind of cultural vein to understand these references. And it goes both ways like you were saying. Like Lucian's true story is lifting things wholesale from Book of Revelation, Apocalypse of Peter, all that stuff. And he's like mixing it all together. This isn't just like some insulated world where people are that hermetically sealed from each other. They're all borrowing and they're all interacting. And I think it's important to realize that. So yes. Thank you again for that answer, Dr. Dr. Wittmarsh. I think my final question is going to tie into, you know, we touched upon the gospel and acts literature. And oh, yeah, that actually Neil cut here. Okay. I want to add this because I was talking to Dennis McDonald last night and we were talking about Dennis is really big on parallels between the Gospels and Greek tragedy and poetry and things like that too. And, you know, as a result of that idea, and I think we were in the midst of talking, I mentioned that mark to me seems how Mark transforms his source material. It's kind of like, I just picture Mark is like the author of Mark is this guy who was really optimistic and then 70 AD happens and then he reads Karyton. He's really depressed. And he basically creates the empire strikes back of the synoptic Gospels. He read Mark in its original context. It's like subversive biography and all of these things and it's just very striking how earthy and weird it is. But yeah, I just wanted to add that. So my last question is going to deal with another aspect of the language and the motifs of the day. We talked about Christians and pagan literature borrowing from each other and interacting in this dynamic cultural exchange. When I read Lucapie and Clitophon and other of the romance novels, I find a lot of mystery cult terminology. Lovers or telete, seduction is a mystery on, you know, this, this in addition to the obvious death rebirth initiation motifs, you have Phoenix motifs in there as well. And your commentary on book one and two of Lucapie and Clitophon, an author I've never read, but I find his theory fascinating, Merkel Bach, he argued that the novels were rooted in the worship of deities and mystery cults. I was just wondering if you find any credence to this, if you have any further thoughts. Yeah, he's on the shelf up there somewhere. He's probably actually behind me somewhere, immediately behind me, but I won't find him now. Yeah. So I think most scholars would say that Merkel Bach's views are overstated. I mean, he really does think that the novels have a sort of two level structure that they have a, a superficial level for non-acolytes who can read them in the way that you and I read them as narrative adventure stories. And then there's a deeper level, which speaks to the experience of initiates into the mystery cults, which, which level all of these stories of, you know, challenge and, you know, adversity and descent into dark places or whatever, take on a more mystical meaning. The problem with it is that it's a sort of conspiracy theorist version of a, of a reading strategy. Essentially what you do is you start seeing patterns everywhere and then once you start seeing patterns, you have to join them up and then, you know, the, but the point is that, I mean, as you quite rightly say, there are pointers in this direction. There are bits in the novels that look like they are speaking with the language of mystery cults and allegory and the like. And we know that in this era, there are authors who are reading myths and other stories allegorically and trying to transpose them into more religious registers, but apparently secular stories, trying to read them in more religious ways. So I think probably the best way of understanding the religiosity of the novels is not to see them necessarily as sort of liturgical documents in the way that Merkel back saw them, but more to see them as, as, as using this as part of the, the, the texture of the narratives themselves. I mean, as we were saying earlier, they're terribly absorbent these texts. They take magpie like take all sorts of things from all sorts of areas of culture at the time, including from these philosophers who are beginning to read allegorically and trying to want sort of deeper meanings or whatever. Doesn't mean that there are deeper meanings in the text, that there are, they, they borrow, they're amongst the elements that they borrow. Amazing. Thank you for that. Yeah. I think, you know, ultimately we need to nuance any kind of view that we have, like there's just one intended reader for these. There are multiple readers for all of these and we can all enjoy them on different planes of their existence. And this is the final point I wanted to make. Just ask your quick opinion on this. But one thing my channel seeks to do is to take all of these texts and understand them all together on their own terms. We don't need to understand, like say the Gospels is something unique from say Plutarch or vice versa. We need to understand that these are all existing and the same kind of cultural matrix and enjoy them and respect them on those terms.  I was having a discussion with a scholar about the Greek Magical Papyri and I asked him, I go, well, what is so important about these texts ultimately? He's like, well, because when we read them, no matter how alien they are, we're looking at ourselves. And it's the same thing with these novels. We're looking at ourselves and we still get some kind of value out of them. So I was wondering if you could maybe succinctly sum up why somebody in 2023 should pick up a, pick up Karritan or pick up, you know, an Ephesian tale, something like that. Why in 2023 we should do that?  But they also speak to us now. I mean, Luke Kipp and Clydefun, for example, that you mentioned there, the second century text, I think, is the earliest example in Greek of a text that's about resistance to arranged marriage, for example. I mean, it is really, so the lovers are within the same household, their cousins, they're both, well, the male is due to be married to someone else at his father's will. The girl is being chaperoned and kept off on her own as girls were at the time. And they fall in love and they elope scandalously against the parents' will. But by the end of the novel, when they've proved their love to each other, the parents kind of come around. The parents say, yeah, that's, you know, it's great to have you back. And so the young love wins out. So it's really quite extraordinarily, I mean, to use your word transformative moment in human culture when you go from basically a view of love, which is about sort of what adult males want to impose on others to a much more reciprocal, symmetrical version of love. Of course, it's not entirely symmetrical. And of course, these are elite people that we're talking about and not everyone has the same opportunities. But in a sense, you know, the celebration of youthful passion as sort of more valid than what the parents want to do is a really profound, subversive moment in human culture, which still speaks to us today. It's the language of pop songs and the language of, you know, teen movies of the 1950s and the like. And that is not an accident either because the novels themselves were rediscovered in the 16th century and fed into European culture via Shakespeare and Sydney and the like, and became sort of influential on stories like Romeo and Juliet or whatever that have exerted a longstanding influence on the way that we perceive erotics in the modern era. So I think they're hugely important cultural documents that remain vital, energetic and highly readable today. Well said. Thank you for that. So Dr. Whitmarsh, if there's anything you want to plug, please feel free. This has been an absolute honour for me. So any books, anything you're working on now, feel free to use this space to promote. Well, I'll just add one thing there, which is that since about 2014, a bunch of us in Cambridge have been trying to, so the Greek novel is now become a very established field and a lot of people are working in it. But that was the result of long labour, essentially, by people like Brian Reardon who mentioned that he produced that collection of translations of the Greek novels. We've been trying to do that with late Greek epic poetry as well, which I think is, I mean, there are people working in this field, really important scholars working in this field, but it hasn't really sort of hit the public in quite the same way. So we're trying to produce a new set of translations of the late Greek epic poems as well. And hopefully that will have some sort of transformative effect itself when that comes out. Love it, love it. I'll be on the lookout for that for sure. Thanks for joining us. You have an amazing evening. Yeah, great, great. Thanks very much, Jason, and thanks for having me on the show. Thank you.


It's me. Oh What's going on Guys, it's Tuesday still the last time I saw you I was talking about what I'd get as transport now I've just gone on a real mission. I have I've been out for about an hour and a half Two taxis a lot of sunburn one scooter picked up and one skateboard.  Let me show you. Let me show you guys. I don't know what the title of this video is gonna be but Continuing in the theme that we have been It's only just that I update you on exactly what has been going on Now I've got a good skateboard. I Got a real good one So we've got not that I know what this really means, but we've got a zoo York blue and black checker board with Thieve trucks Some Spitfire wheels and some abx7 bearings now this board brand new put together is worth over 250 bucks I got it for 150. It's hardly been used. It is absolutely beautiful And it's a hell of a step up from the one that I was using back in Christchurch. So Am I gonna be able to do a kickflip?  I mean, I know how to use this like a back of my hand This is the exact scooter that I used in Thailand Honda lead 100 CC Exactly the same But in much better condition. So this one has new upholstery on the seat It's got new tires It was $1,800 and $1,800 really really well spent. So That's it. It's not registered yet. That's my next mission. I I Got it here I'm gonna have to drive it to the MVR which is the motor vehicle registry to register it in my name But once I do it's all mine. It's all legal and we're ready to go So what I'm gonna do I've got a helmet too by the way a brand new helmet a full-faced helmet I went to two shops The brand is TRX. It's a cheapy, but it's good. It's matte black It's full-faced and it cost me $99 and 95 cents So a hundred bucks for the helmet 150 for the skateboard 1800 for the bike and probably what's gonna cost about a hundred and fifty bucks to get it registered So what I do want to say guys is that this money that I'm spending on setting myself up here in Rockhampton I have accumulated not through working a full-time job. I've accumulated it through making YouTube videos through donations in super chat through Memberships on this channel. So, you know, this money is coming through my YouTube channel and it's sustaining my life It's it's creating it's creating an exciting life a good life And I want to say thank you so much to everyone out there who supported the channel financially Well, I mentioned my patreon I don't know I do have a patreon page for anyone who likes patreon There are no perks at the moment, but I do have one people have asked do I have a PayPal? No, do I have a patreon? Yes, can you become a member on this channel for a certain fee per month? And get yourself a little icon next to your name when you comment and live streams also on videos. Yes, of course The membership start at $2 a month. They go up $2 $6 15 25 and 50. I'm lead to believe so I'm just living life I'm living life the best way I can I'm here in Rockhampton You guys are here with me My daughters are here with me Life is good. My next mission is to join a gym Whilst I was riding around I did actually pass will gym for the first time. It's not big but you know from what I saw in the windows it looks good and What looks better actually is is what's behind me right here? That pool So I'm a sweaty mess as you can see I'd probably best get out of the Sun. It is 38 degrees Celsius here today and This is my life So guys Thank you for watching. Like I said, I don't know exactly what this video is going to be titled But I know what me and Tater gonna do We're gonna go to the skate park and I'm gonna take the camera so peace out guys. Thank you so much for watching And I'll see you in the next one


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In today's modern world, everybody wants to get everything done quickly. They just want it done quickly, but what about the benefits of taking your time and doing it slowly? Hey there, NJRoot22.com here with another general interest vlog. And the last week I talked about how conversations have changed in the digital world. It's gone from sound bites and like swiping and liking and not even thinking. There's no more real deep thoughts anymore. The same thing applies to just people doing things in general. Some examples are like just working on a project or building something. Today people will just look on the internet, find the answer and do what they have to do. I suppose there are some benefits that you can't argue with. You have more time to do other things, but at the same time you also do things hastily and maybe didn't give yourself an opportunity to see other ways to do it. We take pride in doing things slowly these days. I mull over my projects over time. I'm in no hurry to do a project. There's no goal to me. If I want to do something I'll just think about it and sometimes it'll take me a few weeks or months or days. Sometimes I won't do it. Sometimes it'll take a couple of years before I eventually get to it. But I keep it in the back of my head. I like thinking about it because you get different angles at different points in the day. It's just a good thing to let things mull over in your head. I'll give you an example. A few months ago I did an LED upgrade project for my office where I work. In the past I just had a couple lamps and a couple indirect can lamps and it was a well lit office. But I said I want to reduce my power consumption by a lot but I also want to have a similar amount of light. So I built these LED light strips that went around various nooks and crannies of this room I work in. I thought about it. Every day I drew diagrams and I thought about it. I would revise my sketches and try new ways and I'd realize, wait, that was a bad idea. I've been stuck on for the last week and I found a new way to do it and I kept tweaking it but putting no pressure on myself to do it one way or another. I just wanted to feel good about it. So like I said, there was no pressure to do it. When you do something slowly and you think about it calmly without any kind of external influence and it came out really good. It was a complicated project and it ended up being so satisfactory to me. I'm glad I took my time and didn't rush because of the various changes that happened over time. And this has been true with pretty much most of the projects over the past couple years here at this homestead. And we're lucky because they're optional. I have to say though that you don't always get the luxury of taking your sweet time doing things. There are instances where like a repair, for instance, you don't have a lot of time to mull over the ways to do it. You have to repair what you have to repair and sometimes you go back and revise it once the repair has been made and you have time to do it when it's not broken. Luckily for us, those repairs were pretty straightforward. I didn't need to think of 10 ways until Sunday to do it. But the bottom line is no matter what project you're working on, there's no shame in taking it slow. You don't have to go find the answer right away on YouTube or the Internet. Take time to learn. It's not bad to put things on the back burner while you just take it slow. I think that's a good thing and sometimes if you do it right, you might have been abandoning your project entirely saying it's not worth it.  On that, how do you handle your projects? Do you blast through them or do you pace yourself? If you liked this video, please hit the bell and subscribe and I'll see you next time.


But they clearly get it done on the ground. It's a challenge. Definitely. It's going to be a good challenge for us up front. They control the line scrimmage. I think they do a good job of throwing zone type running, where they allow the guys to scoop a lineman out, get to the second level. I think as long as our guys are up front, we control the front, allow our linebackers and secondary to come downhill, and set the edge, and fill in the holes. I think we should have a good day. Simmons, let me ask you about Jeffery. Let me ask you about McAfrey. He's so shifting. Amazing back to watch, man. Shifty out of the backfield. Shifty in space. Guy who can line up wide and make plays. Definitely going to be a guy that we got to make sure we know where he's at all time. The focus is going to be locking down 22. He's a big part of the offense. Everything really goes to him. So if we can eliminate him and keep him in check, I think we should have a pretty well day, you know? I want to ask you about Jeffery. I was talking to him about the difficulties of understanding that you don't have to make the tackle in the sleeve to make the play at your position. How long did it take for that to sink in for you? Probably didn't get into it about a year or three. I think you always want to get out there, especially as a young guy.  But you understand that when you blow a guy up three yards in the backfield, and he got to redirect and go somewhere else, and you're the guy who makes that tackle right then, that's your play you didn't make. You allow somebody else to make a play.  And that's how we do everything in our defenses. Everything is designed to help someone else make something happen. And as long as you can understand that, you can go out there and play a lot faster, not worry about, oh, I didn't make a play. Now I'm getting over frustrated trying to make a play because at the end of the day, coach going to draw or something where it's your turn to go make that play. Kyle Allen is obviously not in Camp Newton because he's not 6'6", 270 pounds. So I'm sure it's a different kind of challenge. Oh, definitely. Your guy back there can let it rip. Definitely move around in the pocket pretty well. I don't say he's trying to run downfield or anything like that, trying to run from guys, but he definitely can select that thing sling. We got some great guys around us that make great plays. Our thing of the job is going to be putting pressure on him. Young guy, make sure we get him rattled, make sure we get him back there and throw a couple of interceptions. When we get him in the pocket, he fumbled a couple of times. So we've got to make sure when we get to him, we get that ball out. How happy are you with those turnover numbers this year? It's huge. It's huge. And it's been helping us out, getting us a good win. So as long as we continue to get turnovers on our side of the ball, put our office in great position. We've got a good future going forward here in the next couple of games going forward.


The introduction to the disaster environment training. I will say the background,溢ilisi here is the extremely 120 AH region which has come together to implement an factory called the Heal Cottage Emergency Management Program and which will build quality of local government's ability in the region to manage and plan for response to major disasters of public health importance. The Eastern Africa Region is prone to many natural and technological hindi, umrationsðu hu키. This not one nation in the region that is not vulnerable to the devastating effects of these disasters. Many of these disasters have a public health significance either directly as in the case of epidemics of infectious diseases or indirectly as a result of the breakdown of infrastructure associated with these disasters. The purpose of this initiative therefore is to increase the capacity of these disasters Apasite of districts to plan for response, mitigation and preparedness for disasters so as to reduce human suffering, mobility and mortality that often arise from such incidents. What is the goal of this training? The goal of this training is to strengthen capacity for public health disaster planning and management at the district level. The specific objectives of this training are to create awareness about public health emergencies, to develop district disaster response management plans for common emergencies and disasters at district level, and to build capacity for district officials to train lower levels in disaster response management. What is our key output to produce a district level disaster response plan? How will we get there? Day 1, we shall have a consensus on terms and concepts of disasters and how disasters affect the districts. Day 2, we shall discuss some common hazards in our region and the districts. Day 3, we shall look at some policies and standards for disaster management. Day 4 and 5, we shall work in groups to produce a district disaster management plan. And on day 6, we shall present the plans and have a wrap up. Thanks for watching.


Thank you for joining this 15 minute lightning talk where we're going to be talking about Cubester. I'm Mark O'Cade. I'm a senior technologist at Custom by Veeam and Cubester gives us the ability to identify our Kubernetes storage, validate our storage options, are configured correctly, as well as evaluate those storage options using a benchmarking tool such as FIO. Let's get straight into the demo. So to start off with the demo, I want to just briefly give you two or one area really where we should really focus on as to where to get more information and that would be cubester.io. So as you can see here is it gives a bit of a brief description of what Cubester is and how it can help. It gives you those three, identify, validate and evaluate and if there's three things I want you to walk away with today is those three things. It gives you a very short demo of how it works but obviously this demo video will give you a lot more insight into some of the areas that also works. Also gives you a breakdown of how to use Cubester as a tool and I'll get to the platforms that Cubester is available for shortly but then it gives you a bit of a rundown on how to run certain tasks on there but again we're going to touch on that during this demo. So in terms of where can we run Cubester, so if we head on over here you can see that we have the ability to deploy Cubester on Windows, Linux as well as macOS. So pretty much multi-platform enabling us to wherever our IDE is allow us to run this to ensure that we can test and validate our Kubernetes storage. Okay so in terms of what it looks like, so to begin with if we take a look at the help command of the cubester.exe you can see here that we have a very simple command line driven tool in that we have the ability to run a CSI check which we're going to get through as well as an FIO. Now on its own and that's what we're going to do here this command is going to identify all of the available storage that storage and storage classes that we have available within our Kubernetes environment. So and what this will do is this will leverage the the cube CTL config or the context that you're using to be able to do that and I'm going to jump between two as part of this demo as well. So here we can see that I'm obviously using an AWS EKS cluster but you can see that it does a validation on the version of Kubernetes, it does a role-based access control check and it does an aggregated layer check. It gives you a warning about the CSI driver beer is depreciated and unavailable after after a specific date but that's really just that warning that we see within the public cloud when we know that there's a transition coming around CSI which is one of the reasons why this tool is such a handy little tool is that the the enhance and advancement of CSI really does shine a light on what we need to make sure that it's configured correctly. So it gives you some information about the the CSI driver that you have so we're using the AWS EBS CSI driver and you can see here that I have a storage class known as EBS-SC and a volume snapshot class CSI AWS BSC you can also see that I have a clone here as well and it then gives us some instructions as to well what do you want to run so we've got the the ability to validate which is testing that CSI snapshot restore functionality which we're going to do shortly and we have the ability to perform that FIO that flexible IO test against the storage that we wish to do. Now what we've also got is that entry provider which also may be something that you also want to get the benchmarking results from and you can see here that we have a GB2 storage class available for that but on this instance we can't run the CSI snapshot validation because well that it's not there so the FIO test is available still in there so if we drill down a little bit further and we check out the help for the CSI check you can see that there's a few more options that come up or a few more flags that we're allowed to to start playing with in that we can say to clean up clean up the objects and the default is true anyway so what this is going to do is this is going to go and create a pod an application it's going to create a PVC it's going to create a PV it's going to create a snapshot of that PV and then it's going to restore that back or it's going to clone that back so validating that the snapshot functionality of CSI is actually working as it should be now if we didn't want to clean that up maybe we were running some tests or wanting to contribute to Cubester maybe we want to keep those those pods up and running so that we could dive into them and and do some more work with them we can also dictate where we want the pod to be running by default it will run in your default namespace that might not be applicable we might want to run it in a specific namespace so we've got that option then a required flag would be the storage class as well as the volume snapshot class so let's go ahead and pick those two that we just saw from running Cubester and what this is going to do is run through that process so it's going to create the application which is going to create the pod that we first mentioned and if I open up another window here just over to one side and I run a cube CTL get pods you're going to see that this Cubester pod is container creating and it really doesn't take very long at all and you can see already that that's running if I also run a cube CTL get pvc you can see that we've got our Cubester pvc in there as well we're then going to take that snapshot so again we could do a volume snapshot and you can see there that we're just keeping up with what we're what we're doing here and what this is then going to do is create that clone or restore that data back into the namespace simulating that the CSI is configured correctly now what it will do and eventually this will this will complete it doesn't take very long at all but what this will do is validate and give you an okay or a thumbs up now if your CSI is not configured correctly maybe you don't have the snapshot controller configured quite right or within the correct namespace is one of the areas that I've seen especially within AWS and EBS and the CSI driver that you manually have to implement is it's going to come back and give you some information about what is happening why it's not working at that point the Cubester pod and the pvc will still be in place as well for further troubleshooting alongside that so you can see here that we've created the snapshot and now we're restoring that application and you can see there that we cleaned up the resources so if I now just go up and check that volume snapshot we can see that that's been removed we should also see that the pods have also that they're being terminated as well as then finally on the on back on here you can see that the CSI checker test is that the application successfully snapshotted and restored and that's really the key key to success from a validation point of view to say everything is everything is good from that angle so then like I mentioned this is around being able to test against not just day zero validating your storage options understand identifying your storage options but also being able to be a useful tool on your existing clusters and you may have clusters in various different locations so in this instance I'm going to quickly just jump over to my Microsoft aks so Azure Kubernetes service cluster and I'm going to run the same test against my Azure disk CSI and hopefully that is still up and running but again what this is going to do is is going to go and create that it's going to go and create that pod it's going to go and create that that same that same process is going to happen here and if I go okay so we're definitely on our AKS cluster if I then run get pods we should see our cubes to container creating we should see the restoring of the application happening now you can see the clone there in this instance so this is the PVC that has been cloned from the from the snapshot up and the restores is ongoing and happening within there and you can see there that that was super quick because I'm using different nodes I'm using different storage and compute nodes within my AKS cluster with much more memory much more CPU which does actually affect the storage capabilities that you have within your within your cluster so we could also run that against the Azure file CSI as well but this is really to highlight that this is around I validating that your CSI driver your snapshot and restore functionality or the snapshot functionality from the CSI driver is configured correctly and fit for purpose from a data management point of view but you can hopefully see the advantages of being ever to see or validate that your configuration is your storage is configured correctly so then we get on to the evaluation of the storage so let's jump back into our AWS cluster and clear that down so we can see so now we want to focus on running flexible IO now flexible IO has been around for quite a number of years open source gives us the ability to benchmark our storage systems so here you can see that we've got our options our flags that we can use again namespace size string etc so if we just want to run a basic fio test using the default which is a 4k random read or a random write as well as a random read write 128k block size then we can just just get going there and that what this is going to do in the same vein is going to go and create another pod or another application but you can see here that it's now that fio pod and this is going to take about a minute to to run through and run that scan against the storage ebs-sc so it's running that fio test that i mentioned the default fio on storage class ebs-sc with a pvc size of a default of 100 gig now you'll see in later commands that i can run that against a 400 gig or bring your own or pick your own size that you need for your workload and that's really the key here is that i'm demonstrating something against some storage that i really don't know what the workload looks like but you will be looking for well what does my database need to look like in terms of performance with x amount of users so you can then choose what that looks like from a from an fio perspective and what you can also do is obviously run this from a day zero point of view so that you know that the storage that you're put putting this on is performant enough both the storage but also the compute and then also being able to run that against um like day two operations and make sure that the storage that you've already purchased or the ones that you're already consuming is also configured correctly so you can see here that just from a random write and this this is how it how it outputs that fio results so we can see that for a random read iops point of view with a 4k block size that we get an iops value of 461 for writes it's 507 then you get to see that block size change to one 128k and you start to see the the the iops decrease actually but obviously gives you an idea of what that looks like so we could go through that and it would run a similar and potentially give us more iops against that we can obviously jump back into our azure and run the same test against that the other interesting piece here is that we can also jump into the preconfigured or community led fio configuration files and use those as our as our our testbed so if there's one that you generally use for your application or you've created your own for your application where you can bring your own minus f bring your own bring your own file and here you can see that on that it just walks the walks the the file system backwards reading the file so and then gives you the the output to that cube step is a handy little tool that enables you to explore your kubernetes storage options by being able to identify the storage options that you have available within your cluster both from a day zero point of view and onwards it validates that the storage options are configured correctly especially around data management tasks such as snapshot and restore and then it also allows you to get some performance benchmarking in the way of evaluating that storage using flexible io hope that was useful thanks for watching


Okay. You have something. Yeah, sure. So, maybe you can change the subject a bit and stay in the realms of philosophy. Can you tell us a little bit about the objectivist position on free will? Sure. I mean, the objectivist position is that free will is a foundational idea. It's an action matter concept. You kind of, you directly observe it. There's no proof of it. You can't prove existence. You can't prove free will. Free will is there. It is also, you know, one of the features of an axiom is that in order to try to disprove it, you have to use its existence. Same with free will. It is the foundation of what reason is and what thinking is and what reasoning means. It means engaging a certain faculty. We have this faculty of reason. Every one of us knows we can turn it off. When you wake up in the morning, you're kind of fuzzy. You know, it's tempting not to think, not to focus. And that's a certain state that some people stay in. They never turn it on. But that turning on is an act of will. That's the foundational idea or that's the essence of what free will means. It means turning on the observational faculty, the integrating faculty, the faculty that actually thinks, that does cognition, that integrates, that acts. And that is something we all can observe in ourselves. We can always observe turning it off sometimes. You know, I don't want to think now. And literally shutting it down or engaging with it. Or engaging it, right? And that's the essence. Free will is not about, did I lift my finger now and did I will the finger? Yeah, I mean in the sense I'm willing the finger to rise. But that's not the essential feature of free will. The essential feature of free will is that turning on and off, what's uniquely a human consciousness. That is, animals can't do that. Animals are in focus because their survival depends on it.   We can decide we're not interested. We decide we don't want to think. We can take our tools of survival. Our one tool of survival is our reason and we can shut it down. A cheetah doesn't shut down speed. It doesn't say, oh, today I'm going to run slowly to catch the prey. It can't do that. It's an automatic play. We're not an automatic. There's something that makes us uniquely human, which is that ability to switch it on or off. So what is it about the Marxists? They don't seem to grasp that or do they just, is it some sort of cognitive distance where they go, there's no such thing as free will.  Well, it's not just a Marxist. It's everybody today, right? I mean, there's almost nobody in psychology or philosophy who believes in free will anymore. Not in a real free will. So they come up with, you know, we all have an illusion of free will or pretend to have free will. But psychology, the study of free will in a sense and how it applies to human consciousness and human cognition and then emotions and behavior and all of that. If you reject free will, you've rejected the whole field. There's no field of psychology if you reject free will in my view. What are you trying to change?   That's all they can think of.  I mean, there's a massive number of people who reject free will. And of course these arguments about free will go back to the Greeks. They go back to the beginnings of philosophy. And, you know, Marx is just one among many. And he took much of this from Hegel.  It's this clash of forces. It's mostly nonsense. And it's interesting that people write long treaties about how you should behave in this way, not even though they don't believe that you're going to choose to behave that way. I guess they believe that their words will automatically move you in that direction. But then that's a very cynical view and why did they write them? Because why did they care if you don't have free will? I just don't get it. Why would I care? Why would anything matter? Why would I be doing an interview right now? Instead of talking to the curtains, you know? You reminded me of an anecdote mentioning Sam Harris. I was not long ago away with my brother for my dad's 80th birthday. And I was listening to a podcast from Sam Harris and I could have almost threw down the headphones and I turned to my brother and said, it's so annoying because Sam Harris is an advocate of meditation, right?  And I was like, who are you asking to observe? Who are you asking to dissolve and observe at? If you observe carefully, then you discover there's now you all just one. Who can you observe, you not being you? The whole thing is gobble-goo, right? And he's a guy who advocates for reason and logic and yet these arguments are illogical in a simple way. This is not even complicated. I actually used the Randian term to describe it, which is the stolen concept. Because how can you say to someone, relax and just observe your mind and you'll see things arise? Who are you telling? It requires free will for someone to be able to take upon themselves that action. Exactly. And we can all observe free will again by introspecting.  That's all the proof I need. Look, it has these characteristics and everybody can see the chair. The only proof regarding free will that is necessary is point at your own consciousness. I can't point at yours. I can only point at mine. The observational evidence is all you need to be able to say, yeah, I do it. I can control my own behavior. I can control my own mind.  Which is why we punish criminals because they say you have a choice. There's no meaning to morality. There's no meaning to anything else. I mean, you could argue that there's a meaning to law in the sense that we punish them in order to save us. It's a kind of utilitarian argument. But there's no meaning to morality if you don't have free will. What we need today, what I call the new intellectual, would be any man or woman who is willing to think. Meaning any man or woman who knows that man's life must be guided by reason, by the intellect, not by feelings, wishes, women's or mystic revelations. Any man or woman who values his life and who does not want to give in to today's cult of the stare, cynicism, and impotence and does not intend to give up the world to the dark ages and to the role of the collectivist broods. Using the super chat, and I noticed yesterday when I appealed for support for the show, many of you stepped forward and actually supported the show for the first time. So I'll do it again. Maybe we'll get some more today. If you like what you're hearing, if you appreciate what I'm doing, then I appreciate your support. Those of you who don't yet support the show, please take this opportunity to go to www.uranbrookshow.com slash support or go to www.subscribestar.com www.uranbrookshow.com and make a kind of a monthly contribution to keep this going. I'm not showing the next...


It's just perfect for your smile Girl, I swear for you, I wanna Just run through my clothes and retain it He's right there I would just say where I'm at But I just need to prove This is the way he's the polar boy


A horse with the speed of light, a cloud of dust, and a hearty high old silver! The Lone Ranger! Before this exciting adventure, a word from our sponsor. General Mills, makers of Cheerios, the old Cheerios at 20 to 8, Benny Clark, a mixers, and Wheaties, the breakfast of champions, present by special recording, The Lone Ranger! When your mom packs a specially delicious lunch box for school, doesn't it make you feel all happy and kind of proud? The kids eat with water bites, or maybe even ask if you'll swap lunches.  Mmm, a great big wedge of say, Betty Crocker Honey Spice Cake. Sure turns her school lunch into a feast. And I hope your mom knows how easy it is to bake one up. All the good tasting spices and sweet golden honey and everything are right in the mix. She just has to add water and two fresh eggs for a perfect cake every time. Cake after cake after cake. It's guaranteed perfect by Betty Crocker of General Mills Minneapolis.  Maybe she'll even let you take the whole cake to Jared's school. Say let's be buddies kind of cake. A perfect Betty Crocker Honey Spice Cake. With his faithful Indian companion title, for daring and resourceful mass writer of the claims, let the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering who speaks of the great horse Silver. The lone ranger rides again. Come on Silver, let's go because I am Silver. For some time on the shortwind of wooden crates had been piled up on a platform of the railroad town called Goldville. The crates held mining machinery for the started gold mining company. But John started with having trouble. He couldn't persuade Hank Sins to freight his goods into the mountains. He was found at Sins. My mind stand operate without that machinery. We've been kept down for a month waiting for delivery. You have wagons? You're in the freight business? Not me, no career. I wouldn't tackle that job with my wagons. Why don't you talk with the Silver Dollar line? That's a big answer. Conway's price is too high. Oh my goodness. Thank you, sir. Don't drop it, sir. What is it? It's Tunde Martin. What? Don't get behind it, young man. Who's that? His name's Tunde Martin. He used to be a new skinner. Now he settled down on a farm north of here. He's a big man. And plenty tough. He's raising news now. It looks like he's moving the ship and up to somewhere. Hey, hey there, hey. How's everything around here? Howdy, Tunde. What are you doing in town? Well, I'm working on a ranch, you know. It ain't mortgage money, so I aim to sell a few new woods. Who's that? Hey, take care that John's started. Well, I heard about you started. Yeah, you're the minor nine. That's right. You ain't got an undergraduate fame. Huh? What's that? It's your cat.  I've been trying for a month to get your friend here to move it. What? You hang? Yep. But I won't touch the business thunder. You see, Cal Conway wants to contract the handle started at mine and business. Cal Conway? That's a piece of cake, Tunde. You afraid of him? Well, he hired a gun slinger.  Well, why don't you hire yourself some gun slingers? Have you the courage to move my freight? Me? If I had wagons, I'd take the job in no time. I'd sooner pick up tag that way than part company with my mule. But Tunde, what about driving? I wouldn't need them. I'd rather leave you and the others would probably in line on a roll. I'll find wagons for you. I'll buy some. Woo-hoo! Hey, don't yell. Show them answers. Hey, Tunde! Hi there, Tunde! Oh, Tunde. Do you know that Indian? Know him? Why your dog, Cal Conway? I know him. Hey, Tunde! Where's your friend? Oh, him and Tunde. Hey, he'll be glad to know I'm going back into the freight and business. Yes, sir. I'm going to mule freight for the start of my recovery. That is, if we can come to terms. Terms? Well, my terms will be just what Hank would have charged if he wasn't spooked by Cal Conway. When the low ranger saw Cal Conway ride in the camp at Sunstown, he knew that his Indian friend had something unusual to tell. Oh, Cal Conway. Jesus, Cal Conway. Jesus, Cal Conway. What happened in Cal Conway? Well, meet the old friend, Tunde Martin. I thought he was on Farewell Hornblows Ranch. Well, him and Cal Conway mules. Him take jobs. What kind of a job? Mule freight. Him take machinery to start at mine. How did that happen? Started not pay Conway price. That is the biggest mining man around here. Ah, other freight line afraid of Conway. Though Tunde would take jobs. Cal Conway has been trying to get control of all freighting. He's built such a monopoly that mines are likely to be shut down. Miners will be out of work. One of our biggest industries will be at a standstill. Oh, that's bad. Although it's bad country between Goldenville and the started mines. That's right. Almost anything could happen to Tunde on that ship. No one would ever know about it. What is the plan to start? Tomorrow morning. Come on, Tunde. What we do? Put out the Farewell Saddle, Tunde. We're going to town. Hey, boy. Tunde. And what you do there? You gotta keep an eye on Conway and have a talk with Tunde. Back in town, Tottle had little difficulty in locating Conway. He saw the owner of the silver dollar freight line at a table in the big front window of the restaurant. Tottle watched until the two men left the cafe. He saw Cal Conway crumple up a piece of paper and toss it on the boardwalk. The Indians thought it casually across the street. Looked to make sure he was unobserved. Then picked up the paper and tucked it into his pocket. A few minutes later, he was with a lone ranger in back of the hotel. What's coming from the window was the fiction to reveal the pencil sketch. Conway talks of plenty of bad colors. You know the man, brother? Ah, him name, Arden. Ben Arden? That's right. He's a notorious tennis singer. He's been suspected of a number of murders. He's been no proof. Ah. Have a look at the sketch. Not here. Looks like a map. That's right. Right here. These are probably the mountains. This place is labeled Juneville at the town. Ah. This line must represent the canyon. Oh, you know that canyon. He's Little Bear camp there. Little Bear? He's your friend. Ah. Him come there a short time ago. Maybe three, four months. I see. Indian village. Right, right here. Right where these marks are, huh? Ah. That's right. This is a place marked as an X. I wonder. It could be the scene of a planned attack. That'd be plenty bad. Anything happen there. He's Little Bear.  That's probably what Conway has in mind. Ah. You see something about him? No, not yet. He's got low kids. He's hotel room. It's the lower one. Right over there. Ah. What to do? Then they can eat the dotted ghoul in mind without going to the canyon. I'm going to tie up this rain to take that roof. Window. It's the window of Conway's room. I'll wait here. I'll see what I can do with it. Undermarked rooms are cramped in a small hotel bedroom. He thinks of the squishing bed as if he didn't expect it to support his way. Dog gone, I sure hope it'll hold. Hey. He's calling my name. Yeah. It's the window. Well, I'll be... Come on in here. Dog gone, I was wondering about you. The package has caught on. Dog gone, I'm sure glad to see it. What are you doing in town anyhow? I'm calling you, Thunder. You're taking a new job.  Thunder, you're going to have trouble with Conway. Ah, that's ordinary karma rabbit. If he didn't... No, he won't like himself. You'll hire a gunman to work for him. And the canyon between here and the mountains makes an ideal place for an ambush. You better not try it and I'll be packing two guns. No, now wait. Wait a minute, Thunder. In that canyon, you can be shot from ambush. You won't even see the gunman. And the Indians of Little Bear tribe will be blamed for whatever happens to you. There's another route to the started mine. You don't have to go to the canyon. Yes, but that doesn't mean two days extra travel. The canyon is dangerous. Well, I was never a man besides step-danger. Much more, dodging the issue will never be found Conway. That whole cat is asking for a showdown and the sooner it comes, the better. Thunder, you may be right. A showdown might be a good thing if we could be sure the Indians aren't blamed. Now, how soon do you plan to start? Well, see, I aim to start a day break and there's nothing gonna change my plan. We'll continue our lone ranger adventure in just a moment. That goes for the star wherever you are. Take Barbara M. Scott, figure skating champion from the Northland. Watch her on this one. Barbara M. Good. Now, there is a champ who's a Rio Huiti fan. She's a great fan. She's a great fan. She's a great fan. She's a great fan. She's a great fan. She's a great fan. She's a great fan. She's a great fan.  Sure helps to keep a gal up on her toes. A guy too. Take Bob Lemon who pitches a lot of balls for the Cleveland Indians. Lemon knows what champions know. Huitis for breakfast away you go. Gosh, no wonder the champs of tomorrow are eating Huitis today. There's a whole kernel of wheat in every Huiti place. Huitis for breakfast away you go. Gosh, no wonder the champs of tomorrow are eating Huitis. How old who continues? The long rains are untolled left town in the middle of the night and traveled as fast as possible across the plains with a minimum of parter for rest and refreshment. On the morning of the second day they pass the town of Hosfield then enter the canyon beyond which lay the started goldmine. It's really so easy, boy. Well, who could move slowly close to the bank of a stream that watered the canyon floor? It made good time, Carlos. It'd be at least a day before Vin Sardin and his men get this far. That's right. Probably two days before Thunder Martin gets here. Well, we're not far from Little Bear Village. You think we can reach it by mid-afternoon? Ah. Little Bear will do as you ask. We may be able to prevent a lot of trouble. You can persuade him and his people to move their camp for some to the canyon and pitch their tents near Hockville. What could that do? They can get their sunshine during the night. Sardin and his men will see the camp. And though Little Bear can't be blamed for anything that happens in the canyon, the Indians will have an alibi if they would interview the people in Hockville. Oh, no, I mean, have it. Sardin won't attack unless he knows that Little Bear will get the blame. You think he can give up plans? He might. Well, let me talk to Little Bear. Do you think he could persuade him to move? We not know, but he's fine. It was come set when Tuttle rejoined the Lone Ranger and reported the failure of his mission. Ah, it's not a long time. It's no good. Little Bear wouldn't be persuaded of it. No. All of us try some other plan.  No. Little Bear, good Indians. In people, peaceful Indians. Yes, Tuttle. Them blame for murder. Soldiers go make war. They might try to meet Arden and his gang and turn them back. Uh, eight. Maybe nine men aren't in gang. Yes, the odds against it would be heavy. One of us were killed. Little Bear's people would be blamed. That's as they would be if Thunder Martin were to die. There's one way I don't know whether it would work or not. Do you think Little Bear would fight to save your life? Well, he fights to save life a little bear and him ready to fight for Tuttle. And our plan might work. Little Bear doesn't know me. That's right.  In the meantime, I'm going to ride the back trail to Hawkesville until I come with him to view Arden and his gang. And I know they're in the canyon. I'll double back without letting them see me. I'll find some place to hide close to Little Bear's village. You'll be on the alert for the signal, the bird call we use. Oh, and when you get there? Probably not before tomorrow. Tell Little Bear that you have enemies in the canyon. When you hear my signal, leave the village and come toward me. I'll carry you away on the silver and make the Indian sink you're being abducted. At noon the following day, then Sergeant and his gang will move westward through the canyon toward the scene of the ambush. At the same time, the Moon Ranger prepared to act. He tightened the sink, checked his equipment, clung into the saddle and headed toward the Indian village. Move, move away! The Indians were playing friendly with games for Tuttle's benefit. There were tests of strength and courage and feats of endurance. Throughout the good-natured competition, Tuttle sat with Little Bear in front of the largest wigwam. He kept listening carefully and finally heard a familiar bird call. Then he turned to Little Bear. Little Bear, maybe someone come here to get Tuttle. You got enemies? You fear bad men? Well, let me tell you about bad men who come to valley. You fear maybe them come here. Tuttle, where you go? In your town, go back a wigwam. Take a look. In a moment, Tuttle was beyond the circle of wigwams and out of view of all the Indians. Then Little Bear heard a sudden cry from his friend. Tuttle, Tuttle, got the game over! Little Bear didn't suspect that Tuttle was winding away with the Moon Ranger only because the Masked Man wanted the Indians to ride in pursuit. Get horse! Get horse!  Get after Tuttle! Confused and waned in the Indian village. Little Bear was everywhere. Herring is meant to the backs of their horses. Then go that way! Right! Get Tuttle! In a moment, the Indians were bothered and raking in pursuit of Tuttle, and the Masked Man was carried him away. Come here! Silver, carrying both the Masked Man and Tuttle, raced along the floor of the canyon well ahead of the Indians. Well, they tell him, Tuttle! Ah, Indian come! Look at all the lead we can! Enough bar from Martin, gang! Horses! Horses! Horses! Din Tarzan and his men were kneeling to pray for they planned to wake an ambush behind Big Rock. Presently, some distance ahead, they saw a white horse coming around the bend. There were two men riding a top speed. One wore a mask, the other was an Indian. Rain in, boys! Wait a minute. Oh, oh, oh! What's just coming, Din? I don't know. Yeah, that horse is coming mighty fast. That man's wearing a mask. Yeah, maybe we'd better pull back and make room for him to pass.  Come on, these harkens, man, kneel to the side of the canyon, or the moon rains will get into the path. Instead, these hooligans brought the great horse, Silver, to a sudden stop. Horses! Horses! He's finished! Now, what's the idea of who are you? Why are you wearing that mask? The Indians are coming this way. What in the... Little Bear and all of these people are trying to rescue this man. They are here with him. I'll be here in a minute. Here they come. I can see them. You men are going to have your hands full. The Indians will think you were after their friend. Now, hold on. Why should they think that? They're not going to leave this Indian with you. Wait a minute. Hold on! I'm not going to pay and pay so good. Chin, time to go, Indian. The hooligans are fairly too subtle of Silver. The Indians fell against Vince Arden and grabbed the leader of the gunman as it's a precious fall. But actually, he dragged Arden from the saddle to the ground. The whole thing happened so fast that the outlaws were bewildered. They saw their leader struggling on the ground with throttle as the masked man dashed away. I'll help you, Vince. Grab the red team. Move off the bar. What about the masked man? Some of the gunman swung from their horses to grab throttle. Others watched the masked man dash out of sight beyond a bend. Then, several decided to go for their guns. But at that time, it was too late. Little Bear and his friends had closed in and assumed that throttle was trying to break away from captors. Several men had drawn guns, and Arden was picked to grasp the situation. Don't fire! Don't start shooting! One shot and their wife is out. Go up your hands from under these red teams. Arden knew it would be hopeless to try to overpower 200 Indians. But boss, they'll make a business. All right, let them. Business will have a change. We try to fight them, we'll be wiped out.  When Cal Conway came down the street and stopped. Howdy, sir. Have you had any word about that new skin and friend of yours? Not yet. He had a lot of nerves starting out from the started minds when I was raised. I understand there's a savage bunch of Indians in the canyon. Conway, you know better than that. Those Indians are no more savage than you and me. Never can tell about a red skin.  If something happened to Thunderbark, that'll be yours to win. And not the work of red skin.  Hey, look at that white horse. Hey, that man's man. Well, I'm all the nerves. One of you is Hank too. That's my name, stranger. If you have questions about this mask, you'll probably get answers when Thunderbarking comes back. In the meantime, I have some interesting news for you. I wish I knew that Thunder would be coming back. There's no doubt of that. What do you mean, mister? Perhaps you'll understand when I tell you what happened in the canyon. Everything's done in that canyon. You might have been trying to ambush Thunderbarking. But they had some trouble with Indians, led by a little bear. The gunman was captured by the Indians. What? Captured?  Instead of killing the gunman, the Indians took them to their villages, prisoners. A gunman were led by Vince Harden. Vince Harden? He's your friend, Conway. If he was there to wail at Thunder, it's because you think, oh, that's a lie. It's a truth. And here are statements to prove it. They're signed by Harden and every one of his men. What? You mean to say you signed? You take the statement, Hank? Hey, these are proof that Conway tried to ambush Thunderbarking. How'd you get those statements? A man came into Little Bear's village soon after the prisoners were brought there. He talked at length to Little Bear. And the Indian chief agreed not to punish the prisoners if they would sign these statements and confessions. What? Harden and his men must have heard stories of Indian punishment. They were quick to sign the document. Conway, you're true.  All in praise of honest fighters. Little Bear will turn his captors over to the marshal. They'll make good witnesses against Conway. Yes, sir. Hey, sir. Sir. If you say so, then... Hank, Hank, you wouldn't do... Oh, wouldn't I? You just try to make a break and see how fast that is used. What's going on here, Hank? What's the matter, man? Why are you holding the gun on Conway? Here, sir. These papers will explain it. What's that, man? You won't need me now, Hank. I'll go and meet Conway on Sunday morning. Hold on! Oh, perhaps this post will identify me, sir. I have it, but what... Oh, Silver. I don't know who the masked man is, sir. He brought in these affidavits that'll jail Conway and smash Monopoly on straight. And I've got a hunch he's the one who went to the Indian village to get these confessions. All right, Hank.  I'll take charge of Conway. Now, listen, sir, if I talk to you until you get the court, Conway, I'd sure like to know who that masked man is. Hank, you mean to say you haven't yet? He's the Lone Ranger! The Lone Ranger, a copyrighted feature of the Lone Ranger Incorporated, is produced by Kendall Campbell Muir Incorporated. The part of the Lone Ranger is played by Brace Beamer. Your announcer, Fred Boyd. Listen to the Lone Ranger, brought to you by Special Recording Mondays through Fridays at this same time.


This lecture is part of an online algebraic geometry course on schemes and we'll be about divisors on some Riemann surfaces, especially Riemann surfaces of degree zero or one. So what we want to do is to look at the Riemann surfaces and look at divisors on them. So what is a divisor? Well, a divisor on a Riemann surface is just a formal sum, sum of Ni Pi, where the Pi appoints on the Riemann surface. Now, if you've got a meromorphic function on a Riemann surface, what we can do is we can form a divisor on this meromorphic function. So we take the function to sum of Ni Pi, where Ni is the order of the zero of f at Pi. And Ni less than naught means there's a pole. And the problem is for meromorphic functions, the sum is in general infinite. So we usually assume C is compact, so sum is finite. I mean, you can do a certain amount of stuff if you allow infinite sums, but then you're really doing analysis, not algebra. So we have a map from meromorphic functions on a compact Riemann surface to divisors. And you can look at the divisor class group, which is the group of divisors modulo principle divisors. So the principle divisors are the ones that come from meromorphic functions. So what this group is really telling you is suppose you're given a divisor, in other words, someone gives you some points with multiplicities. You want to ask, can you find a meromorphic function with exactly those zeros or poles? So let's look at a few examples. So first of all, let's look at the case where the Riemann surface is just the complex numbers. Here, of course, meromorphic functions can have infinitely many poles and zeros. So we will just look at rational functions, which have only a finite number of poles and zeros. And there's a map from rational functions to divisors, which just takes any rational function to its zero. And then there's the Riemann surface and zeros and poles come with multiplicity. And now we can work out the group of divisors modulo principle divisors. And this group is rather boring. It's just the trivial group zero or one, if you're writing things multiplicatively. And the reason is that if we have any divisor, say P1 plus P2 plus P3 and one P1 plus N2 P2 plus N3 P3, just take Z minus P1 to the N1 times Z minus P2 to the N2 times Z minus P3 to the N3 and so on. So every divisor is a principal divisor for rather trivial reasons. You notice this is related to the fact that the ring of polynomials on C is a unique factorization domain. So the primes correspond to the basic divisors Pi and saying that given any finite collection of Pi, you can find the meromorphic function to it is very close related to saying that given any primes, you can find a polynomial with exact, whose zeros correspond exactly to these points or primes. So the complex numbers divisors are not terribly exciting. They're just all principal. Let's look at a slightly more interesting case. Let's take our Riemann surface to be the complex plane together with the pointed infinity. So this is the Riemann sphere. And now meromorphic functions on C are just the same as rational functions. And now it seems we're just in the same cases before, but it's slightly different because now we've got this extra possibility for divisors that we're also allowed the pointed infinity to be part of a divisor. And now if we look at divisors modulo principal divisors, this is no longer trivial. This is now isomorphic to Z. And that's because any divisor has a degree. So the degree of a divisor sum of Ni Pi is just sum of Ni in Z. And now you know that the degree of any principal divisor is zero because any rational function has the same number of poles and zeros. So the degree of a principal divisor principal always get the adjective in the noun mixed up. So the degree of a principal divisor is zero. So this is slightly different from the case of C because now the divisors modulo principal divisors become Z because there's this non-trivial obstruction to finding a rational function with given poles and zeros. And you can also do the same for any compact Riemann surface. So C is a compact Riemann surface. We again find that the degree of a principal divisor is equal to zero. So we get a homomorphism from divisors modulo principal divisors to Z where this map is given by the degree. And this will be on to, but well, we're going to have to investigate the kernel. So we've shown the kernel is trivial for the genus zero Riemann surface of the Riemann sphere. And what happens for others? Well, we're going to look at elliptic curves. Before we go into them, let's just recall why the degree of a principal divisor is zero. The point is, you can find the number of poles and zeros of any meromorphic function inside a region by integrating round a curve C. And taking 1 over 2 pi i of f prime of Z over f of Z dZ. So this is for functions in the plane, but you can do something locally on any Riemann surface. This is 1 over 2 pi i times the integral of d log of fZ.  And now locally you can do the same thing on a Riemann surface. And if the Riemann surface is compact, then if you think about it integrating along a curve containing the whole Riemann surface is the same as integration round a curve containing just nothing at all. So this integral is zero if you try and use it to calculate the number of poles minus zeros on the whole Riemann surface. So the number of poles is equal to the number of zeros. Now we're just going to look at elliptic curves, which we're being analysts rather than algebraists this lecture. So an elliptic curve is going to be the complex numbers modulo lattice L. So we take a lattice L and we quotient out by the lattice and we look at meromorphic functions on this quotient. So we're looking at doubly periodic functions on the complex plane. And here we might call the periods omega 1 and omega 2 because why not? So as before, we can find, we saw that the number of poles minus the number of zeros of a doubly periodic meromorphic function is zero, where of course we just count the zeros inside some fundamental region. And let's just do that explicitly for this case and see why it cancels out. So what we're doing is the number of zeros minus the number of poles will be the integral around this curve of 1 over 2 pi i times the integral of f prime of z over f of z d z, where f of z plus omega 1 equals f of z and f of z plus omega 2 equals f of z. And now if you look at this integral, you can see that this is equal to zero because this integral just counts as out with this integral because of this periodic condition and this integral just counts as out with this integral because of this periodic condition. So we can see very explicitly that the number of poles and the number of zeros of an elliptic function are the same in a fundamental domain. So, now we ask if a divisor has degree zero, is it divisor of an elliptic function? Of course we're taking the divisor points as divisor to be not not in the complex plane, but in the complex plane modular lattice and an elliptic function as doubly periodic function is doubly periodic so it is a well defined divisor on this quotient. And it turns out that there's an extra obstruction, not only must the degree be zero, but also the sum of the poles minus the sum of the zeros must be zero, so let's see why that is true. What we do is we look at the following integral, we look at the integral of z times f prime of z over f of z d z. And here what we're integrating over the boundary of a fundamental domain of the elliptic function. If the elliptic function happens to have poles or zeros on this red path here we have to shift it slightly but we won't worry about that. It's just a minor technical point. And let's think about what this is. Well, this function here has residue n z, so let's call this n pi at z equals pi if f has zero of order n i at pi, where of course poles counters zeros of negative order. That's because this thing here has a has a residue of one at a zero of order one and so you just have to multiply it by that. So the integral of this over a fundamental domain will be sum of n i p i at least one over two pi i times that will be some of n i p i. So, however, if we try looking at this integral, the intervals over the lower and upper parts no longer cancel out because z is not doubly periodic. So, so let's see what actually happens. So, so we've got these points not omega one, omega two and some of them. And if we look at the integral along here minus the integral along here. What we get is the Z the Z is almost cancel out so here. Z is omega two more than the Z here so what we do is we get the interval from naught omega one of omega two times. d log of Z. Sorry, the log of F of Z times one over two pi i. And now this thing here just increases so long of F of Z increases by a multiple of two pi i. That's because F of Z has period omega one. So, F of Z is the same here as it is here so if you look at what log of F of Z does it must increase by multiple of two pi i. So, this integral here is an integer multiple of omega two. In exactly the same way if you take this integral minus this integral. This gives you an integral multiple of omega one. So, we see that one over two pi i times this integral Z F prime Z over F Z d Z is equal to some integer times omega one plus some integer times omega two, which is an element of the lattice L we started with. So, we now have this extra condition that if some of N i P i is the divisor of some doubly periodic function F, then some of N i P i equals naught in C over L. And this notation is a bit confusing because this means a divisor. Here I'm taking the P i to be the basis of a free Abelian group. And here I'm actually adding them up in C. So, we think of P i as being an element of C. So, we're adding them up as complex numbers. And of course, P i is a zero of an elliptic function and that's only defined modulo L. So, this sum is only defined modulo L. So, we can't really say what it is in C. It's only an element of C modulo L, but it has to be zero. So, we get a map from the degree zero divisors, which is actually the principle divisors maps on to C over L. So, there's a non-trivial obstruction to finding an elliptic function with given poles and zeros, even if we say that total number of poles is the same as the number of zeros. In fact, this isn't isomorphism. And I just sketched the proof of this using some classical facts about elliptic functions. So, what we want to do is to show that given a degree zero divisor, we want to find an elliptic function which has those as its poles and zeros. So, let's just have a quick review of elliptic functions. This is going to be a very quick review with most details missing. You can easily spend several hours giving the details of this. First of all, we have the famous Weierstrass elliptic function, defined by rho of z is sum of lambda in L of one over z minus lambda or squared, which is obviously double periodic, except it isn't because unfortunately the sum doesn't actually converge. If it did converge, it would obviously be doubly periodic because you're summing over all elements of L. So, what you do is you twiddle it a bit. So, this is one over z squared plus sum of lambda in L of one over z minus lambda squared. And now you sort of subtract this fudge factor minus one over lambda squared. Now that makes it converge. Unfortunately, that's a slight problem. It's no longer quite so obvious that this is doubly periodic, but it's not too difficult to show it's doubly periodic. You can go and look at a book on elliptic functions. So, the Weierstrass function, that's the property that rho of z equals, so it's not a rho, it's p of z equals p of z plus lambda whenever lambda is in L. And now we need another not quite elliptic function. We need the zeta function. And the zeta function is a sort of integral of the Weierstrass function, except it isn't quite because this is a tyson pole at zero. However, it's still true that the derivative of the zeta function is minus the Weierstrass function. And the zeta function is a pole of order one at zero. And before you get too excited about the Riemann zeta function, this is not the Riemann zeta function and has nothing to do with the Riemann zeta function. It's a completely different zeta function. And the Weierstrass function is doubly periodic, but when you integrate it, it's no longer doubly periodic because you pick up this constants of integration. And we find that the zeta of omega one plus z is zeta of z plus an integration constant, which is sometimes called eta of one and the same for zeta of omega two. And that's still not enough. What we need is the sigma function. And the sigma function is sort of given by e to the integral of zeta of z d z. Well, except it's not quite because this integral doesn't really converge if you start integrating at zero and sigma function actually has zero, so it can't be e to the anything, but it still has the property that the derivative of the log of sigma of z is equal to zeta of z. And sigma is even less periodic than zeta. If you unwind it to find that sigma of z plus omega one is equal to minus e to the eta one of z plus omega one over two times sigma of z. So it's almost periodic except you've got this funny extra more complicated fudge factor of z plus omega two is equal to something similar. Well, so these are used to be standard elliptic function formulas. And back in the 19th century, every undergraduate, every mathematics undergraduate British universities was thoroughly trained in all this. And you may think this was a bit of a silly thing to train people to do, but I will just point out that at that time Britain had the world's largest empire and the decline of the British Empire coincides exactly with the time that elliptic functions were removed from the undergraduate syllabus. Anyway, having done all these, we can now find an elliptic function with given poles and zeros. So suppose we've got a divisor sum of n i p i. What we do is we look at the product of sigma of z minus p i the n i. And let's call this f of z. And it certainly has zeros at p i because I forgot to say that sigma of naught is equal to naught and the question is, is this doubly periodic? Well, let's work out f of zeta plus omega one. Well, this is equal to f of zeta times a product of all these fudge factors we got from sigma, which is a product of minus x of a to one z minus a p one times n i. And this factor is equal to one if sum of the n i equals naught and sum of n i p i equals naught in C. So if you pick the p i, so their sum is actually naught in C and not just naught in lambda, then this is a doubly periodic function. So f is an elliptic function with divisor sum of n i p i. So what we've done is we've shown that we get an exact sequence. We get an exact sequence, naught goes to C over L, goes to divisors, modulo principle divisors, goes to z, goes to zero. And an awful lot of the classical theory of elliptic functions is sort of follows from this exact sequence. What this does is it tells you exactly when you can find an elliptic function with given poles and zeros, the obstructions of the degree and this funny group here. And this is called the Jacobian of the elliptic curve. And you may think it's a bit silly to call it the Jacobian of an elliptic curve because it actually is the elliptic curve. The point is if you replace the elliptic curve by some more complicated curve, then what you get here is not the curve, which isn't even a group in general, but something that looks like this only in higher dimensions and it's called the Jacobian of the curve. And what we want to do is to generalize this to higher dimensional varieties. So we want to figure out what we mean by divisor in higher dimensions. In fact, there are there are two plausible versions of what a divisor might be. You can either think of a divisor as being something like the zero locally like the zeros of a function.  Or we can get things called very divisors. You might think of the divisors as being a sort of union of co-dimension one irreducible subsets. So these correspond to co-dimension one irreducible subsets. So for non-singular curves, Cartier divisors and very divisors are more or less the same, but in general they're slightly different. So in high dimensions, this bit here will sometimes at least turn out to be something called the Picard variety. And this bit here will turn out to be something called the Neuron-Severi group. So there's a sort of discrete group sitting here and a connected group sitting here. And the connected group quite often turns out to be an algebraic variety in its own right. So next lecture, we're going to start discussing how you generalize the notion of divisor in high dimensions and also what it has to do with invertible sheaves.


In this video we provide the solution to question number seven from the practice exam number two for math 1050. We're given three augmented matrices which correspond to three systems of linear equations. And so we're asking which of these linear systems corresponding to the three augmented matrices correspond to consistent linear systems. That is which ones have solutions. Now we don't need to distinguish between do we have infinitely many solutions or a unique solution. We need to have a solution to be consistent. So looking at the first one you'll notice that the last column is all just zeros. This is what we could refer to as the homogeneous system of equations there because the right hand side are all the same they're all zero. The homogeneous system is always consistent because you can always just put in as your variables x, y, and z you could always put in zero like if you take for example one time zero plus three times zero times two times zero that adds up to be zero. And so the zero all zero zero zero always is a solution for the homogeneous system. Are there other solutions? I don't really care because we just need to note that there's at least one solution that's what consistent here means. So one is consistent because it's homogeneous. Looking at the next one we do recognize that there's this row of zeros on the bottom. That just means we ignore that row. It doesn't tell us that there's a solution but it also doesn't tell us there's no solution. We should check that because if the number over here were not zero it would have an inconsistency. It would be contradiction. That would mean no solution but let's go on here. Notice that this matrix is also an echelon form. We have a pivot here and a pivot here. And so we have a free variable in the third column. We could set those to be zero and we get solutions that x equals four-thirds and y equals three and then x equals zero that would be a solution to the system. So because the matrix is an echelon form we can very quickly see that it is in fact consistent. Looking at the last one here, number three, number three is not an echelon form but just like the last one we do have a row of zeros on the left hand side. When you look at the other side though we do get this non-zero value and so that's going to give us that contradiction I mentioned just a moment ago. So because of the third row of the matrix we actually have an inconsistency. We have zero equals negative one, which is not possible for the real number system. Therefore, we put an x on that. So we see that the correct solution will be one and two, which then leads us to select choice D.