All right, it is noon, so we're going to get started so we can keep this on track and on time for everybody that's joining us Thank you for joining our agriculture challenges webinar today. We are going to be talking about management options for on-harvested corn So as we look across the state, I think that what we see the most of in the fields yet is that corn and There's we've gotten lots of calls within our extension offices and as specialists about options for what to do with corn that's on harvested but also Silage that hasn't got hard gotten harvested yet and quality concerns with that. So those are what some of the things we're going to be talking about today before we get started. Few housekeeping items is if you are not speaking, please make sure to mute your line or your device. We're going to be holding all the questions to the end. You can ask your questions either live or type them into the chat box. If you're worried about For getting your questions or in the webinar, type it in the chat box and we'll make sure it gets addressed at the end. So with that, we're going to get started. Our first speaker today is Greg Endress. He is the Cropping Systems Specialist at the Carrington Research Extension Center and he is going to give an update on the status of corn. Alright, good afternoon. So I'll be giving a brief overview of the ergonomic considerations of grain corn. And as I developed the talk I was trying to think of positive things, but it'll be short. I can think of a lot of challenges, but we're pretty short on on answers as compared to the LISAC specialist. I think they have a lot more answers than we as agronomists, but we'll do what we can. So in my talk, I'd like to just mention some of the general challenges with with grain harvest, both this fall as well as as Next spring when it comes to corn. So to get into it in general, this is amongst all crops, not just corn, but we will focus on corn. We certainly have good grain yield potential, in particular with corn and soybean. And considering the blizzard we had not very long ago, it's amazing the amount of snow loss that we've had. And that's certainly positive. Our cold temps might be hard for us, but it's good for getting people back in the field. And next week looks even better for for our firming up those fields and continuing our harvest and other activities. Certainly we have a lot of challenges and they include physical barriers just getting to the fields as well as in the fields and those barriers include blocked or bad roads. Snow banks, at least in the case of corn and sunflower. And then of course lots of inaccessible field areas, areas that we can see and oftentimes areas we can't until we're stopped and stuck and bad things that follow. And then certainly there's been equipment expense, additional expense, such as additional tires or trucks on tractors, combines, grain carts, etc. And then of course the damage to equipment, in particular from getting stuck. People are getting stuck very, very often and you know machines can easily be damaged trying to get them out or even non-visual things can happen. There's a lot of stress on this equipment, in particular in combines as they're moving through these fields. And we may not realize the damage right at the time, but in the future they're more exposed to or susceptible to breakdowns. So all in all because of these things and others we just have a slow harvest progress. And just everything's in a slower gear from getting to the field, working in the field and then getting the grain either back to the farm or in particular moving the grain to elevators. And so another point about this is that we are dealing with unusually high seed moisture in general. And so right now we may get into the fields, but can we practically harvest and move the grain out. And so for example in soybean, typically we harvest soybean at 13-15%. Oftentimes we deal with too dry a soybean, but this year it's different. We have soybean in high teens or even 20s and that poses a real challenge. The same with corn. Usually we harvest corn at 15-18% seed moisture. We're dealing in the 20s and oftentimes mid or even high 20s. So I thought it'd be useful to rank some of the other crops, not just corn. So with dry bean to me that's at the top of the list for being high risk to adequately harvest. Dry beans are very susceptible to seed shatter, direct harvest, people still need to do that. There's going to be high seed loss occurring. And for conventional harvest, I'm not sure that's possible. And then if we do get the crop harvested, seed quality is going to be concerned such as discolored seeds, dirt tag and other issues. With sunflower, say that'd be next on the risk list just because of plant lodging, seed shatter and bird feeding. Soybean would be next, little less risk, but we still have plant lodging and certainly the cutter bars on the comments will need to be lifted and that's going to mean increased seed loss. So at the bottom of the list is corn, fortunately, but there's still risk with that. Some positive things are that minimal plant lodging and year drop. We do have a very viable option of harvesting in the spring. It's regularly done, but some good things about this is that we don't have to fight with the current field conditions. We don't have to artificially dry it and the expense involved with that. And we don't have to store it. It's still in the field. That of course on the flip side, the spring we're harvesting instead of planting. And then of course challenges. We've already talked about the high seed moisture rule of thumb is during the month of October, we can lose about 2.5% of seed moisture per week on normal conditions, but this year isn't normal. And in November, we can lose 1% per week under normal conditions. So we're not getting much ground and seed moisture loss at the current time. And, and then the resulting is we just have even greater challenges with handling the storage. And then one other option is one other consideration is how about next year, if we get our fields harvested this fall, what are some of the challenges that we have for next spring? Well, certainly even if we harvest the fields, it's highly unlikely the whole fields going to be unharvested. And so those unharvested areas are going to be difficult to deal with. We also have plant residue that we can't deal with until next spring. We're going to have field ruts. We're going to have volunteer corn. And how about crop selection? How do you really plan if the crop is harvested so late? We don't know what all the challenges will be. And for sure there'll be late planting next spring for whatever the follow crop is. So I'm sorry, I'm listening to many challenges and so few answers, but I guess that's the way it is on the agronomic side of corn grain production. Close with that and send it back over to you. Thank you, Greg. So our next speaker is going to be Carl Hoppe, the livestock system specialist at the Carrington Research Extension Center, and he's going to be talking about some of the harvest options available for harvesting corn for feed. There we go. Now we're in with it. I get the opportunity to talk about ensiling corn this year, corn silage. A lot of issues going on out there and we're seeing a lot of it that's not being harvested. I'm getting a lot of phone calls routinely on harvest, on work when we find a harvester to show up. Of course, I don't have the answer for that. Everybody's busy with a backlog of harvesting that needs to be done, but I'd like to talk about a few things here about corn that's unique for this year. We like to do corn harvesting when the plants are around 65 to 70% moisture, which means 35 to 38% dry matter, which they sometimes say that's three quarters kernel milk line. So if you go and look at your corn, some of these forage varieties still haven't actually reached that point yet, so I'm surprised how much moisture is still in some of these plants. Which, like Greg talked about earlier, moisture dry down isn't occurring in our grain corn, so consequently the dry down time for our corn silage is taking more time as well. Just a thought here that when it comes to there's different varieties of corn for making silage out of, you can use grain varieties or dual purpose varieties or specific silage varieties. But actually when it comes down to it seems like there's some of those silage varieties are hanging on the moisture quite well, which means the plant hasn't dried down yet this year, which means there still is an opportunity for putting up some silage. Let's think about what we need for good silage production. We need harvest moisture that allows it to be packed in the pile and we need to drive over the pile consistently and quite often or to get a hard enough pack to exclude the air out of the pile. And then sealing with some type of plastic and then actually removing to sealing it reduces the amount of oxygen that gets entered into the pile it keeps moisture into the pile as well so it helps push the fermentation process along. To have proper plant moisture we like to have, like I said, 65% moisture. It allows for good compaction, gets the oxygen out of the pile. And that's the biggest problem people have right now is as your corn stock plants tend to dry down we have a harder time getting the plant, getting the pile to remove the oxygen that's in the pile. You don't get a good enough pack on it, that's a problem with the dry down side of it. So ideally, we'd like to have it be that like I said 60 to 70% water if we cut it too early, then we'll have a lot of moisture seepage out of the pile it'll start running. That's not the case this year was if you harvested it before the snow and the rain showed up. We see some of those piles that were harvested 70% moisture actually seeping and running right now. But most of it's now being put up when it's almost too late to dry. It's just doesn't pack very well so consequently you don't have a good fermentation and those issues just keep showing up. So one thing person might consider doing is adding a solid genoculant that'll help stimulate the fermentation process with good bacteria. Otherwise we rely upon the wild types that are in that are out in the country already on the plants. It doesn't cost that much to have it done always encourage you to do that. You can see by the digestibilities it may not increase as much as you hope to it, but it'll help start the solid pile in the right direction for fermentation. If the side just too dry, consider chopping it finer so you can get a better pack to it. Always use a kernel processor in my mind so you break the kernels up and make them into a smaller particle. Increase the availability starch of the bacteria to work on. If the pile again is too dry we can add water. I've been in piles where they put a garden hose on for two weeks to add enough water to have it be done, but it takes a lot of water to add much to a solid pile. So just one semi excuse me one truckload of solid you're going to raise it from 55% moisture up to 65% would take almost 500 gallons of water. Again that's a sizable amount of water not just a little bit. So if we're looking at ear leech that's something where you use a stripper head you just pop off the ears and hopefully just chop up the ear and the husk. We can get by with a lower moisture content or a higher dry matter content by doing that. That's because you can pack it harder easier without having the stock in the pile like you would with a cornstarch pile. Of course the energy content of ear leech is higher 65% TDN versus 65% TDN so there is more energy dense. An advantage using ear leech rather than just grain corn is that you get the cob in with it as well and actually that amounts to about 20% of the total weight that you have. So I look at it this way you get 20% more free feed by going with the ear leech and in a feeding situation ear leech competes quite well with grain corn or backgrounding or eating cows. We do have a publication that's listed at the top that you can access to learn more about ear leech. High moisture corn is another option you can put that a little up a little bit drier and we are people right now that are putting up a combine of their corn and grinding it and putting it up pile. I said grind it because whole corn doesn't exclude the air well enough in order to make it in silo. It'll probably heat and then mold and then you have other problems. The reason you want to in silo is to try to push the organic acid content high enough that it pickles, I use that term pickles the silage so it keeps bad molds from growing. That's the problem if you're less than 22% moisture run the risk of the pile just molding rather than in silo. One way to manage that a little bit closer is to put it into a bag and bag this high moisture corn. Some people have done that works quite well. The goal is to exclude the air and always remember if you're buying high moisture corn be sure to adjust the price for the moisture content. Don't pay dry corn price for what corn that you buy. Here's some observations that just happened recently. Silage has been cut this week was frozen because the temperatures are low daytime temperatures are also frozen. So the silage is cut frozen chop frozen put in the pile frozen. If you can read that little thermometer you say it's still at 32 degrees. Will this ferment will wait and find out it may just be frozen feed for all winter but you really haven't lost any fermentation losses here because the silage. It's not really a silage it's just a brown chop that's put into a pile that's filled with grain and everything else. So the problem you might have to think about is next spring have it fed up before spring fog occurs. Otherwise you might have rotting going on in the pile rather than fermentation just because it starts to eat from the outside. And rather than the inside out inside out works for fermentation. So bottom line here is chopping early is usually always better than chopping late but this year we just couldn't get into it because the rainstorms. You have a kernel processor please ask them to use it sort of breaks up the kernels and actually breaks up the job as well. I encourage you to use an inoculant and I say pack pack the pile and keep packing and pack some more. If you'd like to avoid some losses be sure to cover with plastic a two membrane plastic one that keeps the oxygen out and the water in. So with that I'll let to the next speaker. Thank you. Sorry about that. So our next speaker is going to be Kevin Sedevic the rangeland management specialist here in Fargo and he is going to be talking about options for grazing on harvested corn. He's here with me so I am going to leave and he's going to come in. Well good afternoon and it's a pleasure to be here today. I've got a chance the last two days to travel much of the southern part of North Dakota and it looks to me that at less than 10% of our corn has been harvested for anything whether it's grain or silage. And so there's looking at all these different options and one option we're going to look at is is grazing these unharvested corn. Brannis takes me out to use this. When it comes to grazing unharvested corn you know management of the livestock is critical. So you don't have this issues of over consumption and risks of death loss. And so I tell producers you really need to look at met if you're going to do grazing of unharvested corn know that management will be part of the picture and you just can't throw those cows and cows those cows out with that corn and allow them to have free access because you're going to have some health issues which Dr. Block's going to cover next. You're also going to have some some poor efficiency in terms of consumption when they have free choice. So when you're looking at harvesting these you're going to have to build that infrastructure and normally it's just going to be fence and water and producers don't get too high on putting in fence because there's a problem with where to put the fence how to get the fence in there. But if you don't have access or the ability to limit feed without a fence it's it's very difficult to do this at low risk. I'm also a firm believer that water should be always available for these cows. These are two pictures of examples that we have at the Central Grasslands Research Extension Center where we have Richie and one of the sites where we're grazing aftermath corn or cover crops. And the other one the bottom is a water tank that we have in place for our aftermath creating of our residues. And so the issues that you're going to deal with of course are health issues whether it's acidosis abortions lameness or death. And I'm going to save these for our next speaker to talk about but these are issues that you have to deal with when it comes to grazing these feeds. So I'm going to give you some top recommendations on what you should look at in terms of grazing these corn fields at low risk. One is adapt those cattle to corn to graze that corn before turnout. So give yourself a 10 day period and start those cows on a low ration of corn and build them up so that women can adjust in terms of the pH in terms of bacteria within that that woman so that they can they can actually handle this kind of consumption of corn. Do not turn out hungry cattle. So prep these cows beforehand basically give yourself two three or four days to feed these cows and when they go on into that field of grazing their woman is full so they have that time to when they consume that corn. There's that mix of forages and corn in that room and so you don't have any issues or you reduce that issues of toxicities cows that are experienced in eating corn will shell those corn cobs and eat that corn fairly readily. And so these cows will be obviously quite prone to issues because if they've learned and adapted those cattle that are new to eating corn will take some time to learn and adjust and find the corn or at least figure out what they're doing there. So you create a natural delay in the consumption of the actual corn grain, which gives you an acclimation period for those cows. And so you tend to have a little more time with those cows that are naive to grazing corn. And last and I think still important is you need to have a cross fence set up to minimize access what it reduced it reduced it increases your efficiency. And it allows those cows that first day they're going to consume corn grain corn and then the second day they're going to consume forages so you always have a mix of corn forages in your diet. You don't need a back fence. And typically what you want to do is allow a two day rotation or movement of those fences and some people were giving up to three days on that time for when you're moving that fence away from the water to improve your efficiency. The last question I'll often get is how many cows can I graze on a per acre corn. And the literature on this is a little bit a little bit odd and trying to find some answers here but you just look at the numbers of a six foot tall corn tassel produced about 12,000 pounds of dry matter. They're going to consume about 60% of that feed adjust for 35 pounds of intake and looking at about 125 to 150 cows for one day on that acre of corn. So if you have four acres of corn, you may not have enough cows to consume that corn so be realistic in what you have in terms of acres and try and consume those acres that you want to do with the size of your herd. So you can make that number. So if you just budget that one and a quarter to 150, it'll give you a feel for if you want to graze for 30 days, how many acres of corn you're going to have if you have enough corn and you can figure your numbers up as well. That makes sense. So if that helps you on looking at ways to reduce your risk, get the most out of that grazing component on that corn and kind of give you a feel for numbers you can have in terms of raising those acres. So thank you. Thank you, Kevin. As Kevin mentioned, our next speaker is going to be Jana block. She is the last assistant specialist at the Hittinger Research Extension Center, and she is going to talk about some toxicity and health concerns when you are grazing corn. Hey, thank you Miranda. So a lot of these toxicity issues are fairly commonplace and basic. I think it's just important to mention it regarding, you know, regardless of whether you're thinking about feeding some corn grain because of hay shortages or possibly getting out and grazing some of those corn fields. So the first one I'm going to talk about is bloat. Everyone's pretty familiar with this, simply a buildup of gas in the room and normally the cows eruptate this but oftentimes in the case of high grain diets. A stable form, a stable foam will form over the room and liquid and kind of prevent the release of that gas. Preventing bloat is much easier than trying to treat it. If any of you have dealt with that, you know that that's the case. Ionophores can help with bloat and also with several of the other digestive disorders that I will mention. And those can usually be included with a mineral supplement, which is necessary anyway. Maintaining adequate refuge levels is going to be really critical in most of these digestive disturbance situations. Maybe even consider putting out additional hay when they're in a corn field to kind of assist with that. Kevin talked about adaptation. That's definitely critical and then not turning hungry animals out. So because of the ability of cattle to selectively graze, like Kevin mentioned, when they're experienced they will go out and definitely sort through and select the grain first. So that's why grazing management is so critical. The normal room and pH is going to be around a six and a half to seven. And on these high grain diets, we can get pHs of less than five and a half. And so because of the time that it takes for the rumen to adapt, when that grain hits the rumens, you know, suddenly without adaptation, the lactic acid producing bacteria grow extremely quickly. They produce even more acid. The rumen will eventually shut down. You might see some diarrhea for the ones that survive an acute acidosis issue. You're going to see things like weight loss. They could potentially get into some liver abscesses, which definitely affects performance and will impact carcass quality in the end. And you can also get an increased susceptibility to secondary infections such as respiratory disease for those cattle that survive. For the ones where metabolic acidosis takes place, usually that will result in death. So founder, another fun one we get to deal with this is actually just mainly a byproduct of acidosis. So if the acidosis is really severe, there can be a large amount of damage to the rumen wall, which allows the toxins to then enter the bloodstream and travel to the feet and damage foot tissues. So you can see things like hoof deformities, formation of ridges, abscesses. In some cases, the soul will actually ulcerate. So those cows are definitely going to be sore. They're going to be lame. Again, prevention is going to relate back to adaptation and also including thinking about including some buffers such as a sodium bicarb or limestone. That can help neutralize the rumen pH, which is kind of the major factor that leads to these issues. Also wanted to mention, if a cow does founder, we've heard producers mentioned that you can see issues with lameness and foot health for years afterwards after the founder experience takes place. Kay, the presence of mold on corn does not necessarily indicate that you have mycotoxins. Mycotoxins are just compounds that are produced by specific types of mold. And so the presence of mycotoxins, which are harmful to livestock, can only really be determined by laboratory testing. So this is where NDSU Diagnostic Lab comes into play. So these are some four fairly common types of mold that can produce mycotoxins that could be a threat to cattle. So the first one in the top left corner, aspergillus, so this is a grayish-green kind of powdery mold. It will produce an aflatoxin. The kernels will be kind of a brownish color, and they may be shrunken. Moving over to penicillium. This is also kind of a green or blue-green powdery mold. Usually occurs at the ear tip. You will see some bleaching, maybe, or streaks in the kernels, and this will also produce mycotoxins. Gibberella is a red or pink mold that usually begins at the tip of the ear and produces vomitoxin. And then, of course, our fusarium, also a problem in other small grains such as wheat. This is kind of a white-to-pink cotton type of mold, and that can occur anywhere on the ear. That will produce a number of mycotoxins, vomitoxins, xeralinone, T2, a lot of challenges with that one. So, in general, the mycotoxins function to reduce feed intake, they reduce nutrient content and absorption in the diet, they alter metabolism, and they can also suppress the immune system. So, we do have some established guidelines for feeding cattle some of the mycotoxins, but definitely not all of them. Again, submitting a sample to the diagnostic lab is the best way to know what you're dealing with and how to manage that. I did also just want to briefly mention nitrate toxicity. Although, in most areas, we do have a pretty good corn crop. There are still areas that were affected by drought and may have had poor grain fill most of the time. Our challenges with nitrate come in a poor weather year, different weather conditions that can reduce photosynthesis. So, drought is one of those, but the tricky part about nitrates is you just don't know when it's going to show up. It can be really dependent on the type of soils that you're dealing with, fertilizer rates and other factors like that. So, if you do have a case of nitrate toxicity, you may see symptoms such as staggering, difficult breathing. Basically, what that nitrate does is it takes the oxygen out of the bloodstream and the animal eventually suffocates to death. You may not ever see any symptoms, you may just come out and have dead animals. So, the bottom third of the stock is going to contain the highest level of nitrates. If you're thinking about cutting the corn, if you're able to do that, raising the cutter bar is one effective way to kind of manage that. Also, ensiling can reduce nitrate levels up to 50%. However, as Carl mentioned, some of the challenges that we're having with maybe having corn silage too dry, it might not ferment properly. And so, that nitrate may not be fermented and kind of leached out as well as it will be in a normal silage pile. So, again, with nitrates, as with many of these potential toxicities, testing is going to be the best way to go. And of course, also really careful feeding management. So with that, I will turn it back over to you, Miranda. All right. Thank you, Jana. And I just have one last slide to share with everyone. So, Brian Parman was going to be joining us, but he was unable to since they're traveling the state with their egg lenders workshops. And so, he just wanted me to bring up these few reminders for financial considerations, specifically more related to the insurance end of things for the corn. So one is contact your insurance agent to make sure that you can explore your options and what you can do for harvesting or maybe extending your period. Contact your local FSA office. Make sure you know which programs you're eligible for and what the restrictions on those programs are before you make any decisions. Appraisal is required to calculate many of the indemnity payments. It's also going to be required for those of you that are in counties that may end up being eligible for the WIP Plus program, which will not be open until we receive a secretarial declaration, which we have not yet received. But you need to have either production data or you need to have your appraisal data from your insurance agent to be able to complete the paperwork for that program. And lastly is insurance period does not end for corn until December 10. So if you decide to use it for another purpose other than its intended purpose prior to the state, you may not receive your full insurance payment. So make sure that you have that conversation with your insurance agent before making any decisions related to that. And if you have any other questions related to these considerations, contact insurance agent FSA office or you can contact Brian Carman here with NDSU Extension. That concludes our portion. We'd like to open up to any questions that you may have related to this topic. Brian, there is one question statement. Oh, yes. So one of the statements was that there may be some problems with leaving corn in the field. And can halving caution that you should check stock strength, your shank strength and in the soil maybe will be extremely wet in the spring, which may prevent harvest in the spring, except on soils that such as sandy soils that won't be saturated. So losses can be very high in the field. And one thing I want to remind everybody of is that if you are looking for the recordings of these webinars for this one are are the other ones that we have done. You can go to the NDSU extension page, the livestock management page on within there. And then at the bottom, there is within the topics, you click on the section for the webinar series and all the recordings are located there. If you do want to contact any of our speakers go to the connect tab and there's contact information for all of our speakers except Greg, because this is a live site page and he's an agronomist. So you will have to go to the crops page or it's the Carrington research extension centers page to to find his contact information if you don't already have it or just call the center. That is all I have for other housekeeping items. Our next webinar is going to be Monday. We're taking a break tomorrow. And that one will be on assessing available forage resources and your herds forage requirements coming into the wind going into the winter. One last chance. So if you have any questions. Okay, well I want to thank you all for joining us and I hope that you're able to join us again on Monday. You hear me Miranda. Yes, I can now sorry I was on mute. I had one quick question and I'm not sure who can answer this. Okay, these guys that want to graze this corn. The corn itself is more likely going to be froze solid. What kind of digestibility can we expect our calls to actually get out of that. Carl or Dana do you have any insights or Craig. I would share with Craig that the digestibility really won't change in the cattle once that grain has been warmed up and made fermentable in the room and so there might be some challenges in just consuming the frozen corn but cows have a will so they'll probably keep chewing that until they get it. And then the chewing process and then go ahead and then swallowing will probably warm up the feed enough that you won't see any digestibility problems as such. Okay, thanks. I would say because it may take a little bit more energy to get that digestion process going. You're just going to really and this is a case with any type of grazing situation. Just really keep an eye on condition because you don't, especially with pregnant cows you don't want them losing weight getting closer to calving so just kind of keep an eye on condition and make sure that you're supplementing if necessary. One last item. If you are still with us please take time and take this short survey give us your feedback on this webinar or any of the other ones that you've watched and we're also looking for some input on topics for future webinars if we are to expand this series. Again, thank you for joining us. The link to the survey is also on the web page if you don't have time to click on it here. So thank you again for joining us and we hope we are able to chat with you all on Monday.


Hello people of the internet, my name is Johnny and welcome to a very very exciting quick FNAF news video. Steel will just reveal the free DLC coming to Security Breach in 2023 and it looks insane. If you're excited, please hit the like button if you're new, subscribe because we have a whole bunch of FNAF news to talk about. We cover FNAF news all the gosh dang time, so subscribing to this channel is the best way to guarantee you'll know exactly what's going on in the FNAF series. So like two minutes ago, by the time I'm recording this, Steel will tweet it out, returning guests will be granted free admission to the pizza plex, and attached is this picture. Five nights at Freddy's, Security Breach ruin, free DLC 2023. And it looks like this new character, this new little girl who I'm guessing will be the stand-in for Gregory, it looks like they're venturing into the newly destroyed Freddy Fazbear's mega pizza plex. Now I'm guessing that this practically confirms that the Afton ending is the canon ending to Security Breach. Cause that's the only one that has like major damage to the pizza plex besides the fire escape ending, but this doesn't look like, this doesn't look like a fire, this looks like it collapsed. Which is exactly what we see happening in the ending of the Afton, you know, the Afton ending. And you can see right here, a newly destroyed Glamrock Chica. We had shattered Chica, but she, this new Chica is extra, extra shattered. But that's super interesting because this confirms they're still gonna be alive, you know, they're gonna be in this DLC. Even though we destroyed them and the building collapsed on them, it looks like the Glamrock animatronics will still be in this new DLC. Now I'm assuming that this little girl is just a completely brand new character, kind of like how Gregory was. I'm assuming this isn't, you know, like obviously this isn't gonna be frickin' Elizabeth or someone we know. I think it's just straight up a brand new character. Um, but yeah, up at the top, let's focus on this now. So Gregory is in distress. It looks like, right? Obviously he's across all the monitors. He, you know, it says help me. He's, you know, desperately looking at his fuzz watch, looking around. He's in trouble. And I think this new little girl, the person who we're gonna be playing as in the DLC, is going after Gregory to help him escape the ruined pizza plex. Now what's interesting is that this is obviously a sequel, if you will, a continuation of what we played. And if this DLC is the same DLC that we've been teased with, um, the Chowder, Chica Chowder, it seems that we're still gonna have new attractions, because, you know, Chica Chowder is completely brand new. It's a brand new attraction. It has the same, you know, poster style as all the other attractions in the pizza plex. It's a new, you know, it's a new attraction. But why would there be a new attraction in a place that very obviously is in ruins? It's so destroyed and ruined, in fact, that that's the name of the goddamn DLC. So why is there, why is there a brand new attraction? What's going on? I, I'm thinking maybe there's more to, there's more to this DLC than just the pizza plex being destroyed. It could be a whole bunch of things. Maybe there's flashbacks to when it was in a earlier state and there's Chica Chowder. Maybe we'll see it fixed over time at the very end of the DLC. It'll be all repaired, new attractions, yada yada. So while obviously this is a continuation of the story, you know, it's not a prequel. We're not going to see Glamrock Bonnie, apparently, which I know was probably going to upset a lot of people. It's still interesting to, to theorize, are we still going to see it get repaired over time? Or are we just going to go in, get Gregory, get out? But here's the thing that, that gets me concerned, right? We see Gregory, we see Gregory, we don't see Glamrock Freddy. And if this really does happen at the end of the Afton ending where the whole pizza plex, you know, falls apart, we did escape with Glamrock Freddy, but we don't see him anywhere. Yet we still see, you know, Glamrock Chica. So if Chica's still in here, we can assume that all the other Glamrocks are going to be as well. Roxy Monty, but where's Freddy? Surely he's still, surely he's still going to be here, right? And if we're going in as this little girl and, and that's it, who's going to be our companion? Are we going to find Freddy first and then we have to, you know, explore and look around for Gregory with Freddy as this little girl? Are we going to see Vanessa? Are we going to see some of the other characters like DJ Music Man, you know, the daycare attendant son and moon? Uh, who else? Who else? The little teeny music man with the symbols, the staff bots, who's going to be in the DLC? Is Afton still here? The blob? We saw the blob take up Afton in the final cutscene of that, of that Afton fight, but are they still alive? Did they survive the ruining of the pizza plaques? It also looks like there are doors like garage doors instead of the elevators in the main lobby, which could be an oversight since I'm pretty sure there were supposed to be doors instead of elevators in earlier builds of the game. So they could have just made this before they added in the elevators instead. But it's just, it's so, so interesting. It's so interesting. I honestly didn't think we would get a poster this soon, but I will say I'm interested by this, by this girl. Cause if she is a brand new character, why is she coming to the pizza plaques?  We know Gregory doesn't have any, but what if she does? Does she have any connections to Gregory? Maybe they're siblings, you know, maybe they're just friends. I don't know. Like why, why is this girl going into a ruined pizza plaques just to look for Gregory? Like it doesn't make any sense. And how is Chica still alive? How is everyone else still alive? I mean, look at the, look at the state of the statue of Freddie. It's completely destroyed. And I will say just massive props to Steelewool for the free DLC. I mean, that's, that's insane. We knew there was DLC coming. Everyone was kind of shaky. Like, they released the game in the state it was and now they're making DLC. But I think the fact that it's free and the fact that we've been getting, you know, consistent updates. I didn't talk about it in my previous FNAF news video, but there is currently an update releasing on consoles and hopefully PC pretty soon. But it's just, oh man, that's absolutely insane. I cannot wait. Honestly, cannot wait. I freaking loved playing security breach and this new take on it is going to be insane. There were so many people genuinely upset that the game was so colorful and bright and, you know, 80s aesthetic as it was. But now that we get this DLC seeing the, seeing the destroyed state that Chica's in, seeing the, the state that the, the pizza plex is in, it gets me so hyped. Hopefully this is going to be super horrific, super scary, ominous. Because just imagine that walking around the pizza plex destroyed in shambles. It's, I can't describe it. I'm so, so excited. But I think that's going to do it. I'd love, love to hear your theories in the comments down below. What do you think is going to be happening in this DLC? Obviously, we got a new character. Who do you think this is? What is her connection with Gregory? Why is she going into the pizza plex to get him? Obviously, he's alive. Do you think Freddy's alive? Do you think we're going to see him at all? What are your thoughts on the glam rocks coming back? I'm sure some people are kind of hoping for new characters, but it seems like it's just going to be the glam rocks again. Maybe there's a few surprises of new characters. I don't know. What are your hopes? What are your theories? What do you think's going on 2023? That, that is a long ways away. You know, we're only going into God, what is next month June? So we do have many months to wait, but hopefully, hopefully it'll be worth it cause already this, this looks insane. So thank you guys so much for watching this FNAF news video on the brand new DLC of security breach coming next year. And I'll see you all on the flip side. Goodbye.


My name is Andre Strode. I've been in the different police department for 17 years. I grew up in Montbello, went to Montbello High School. Andre Strode on a tackle. I was actually able to go to two state championships in a row. Andre Strode, who saved Montbello. After Montbello High School I got a football scholarship up to Colorado State University. And Andre Strode, the defensive back. After that I played in the CFL, which is the Canadian football league for five years. I played in Vancouver, Birmingham, Alabama and also I played for the Winnipeg Blue Bombers in Winnipeg. I toured both of my ACLs. I knew it was time to come back to reality. So I came back down to Denver. When I was growing up always like law enforcement. So becoming a police officer was right up my alley. That's what I wanted to do. I always wanted to come back, eventually come back to District 5 and work in the area just to help out the kids and help out the community. This is where I grew up at. This is where I'm from. So it has a little special spot for me.


I am Quinn Thomas, an associate professor at Virginia Tech and I'm excited to provide an introduction to the semester-long course that I teach in environmental informatics that uses publicly available data sets and modules to teach both data science skills and environmental science concepts. First of all, my course integrates materials from different existing modules, many supported by the National Science Foundation, and uses RStudio as a coding environment. A major thanks to these efforts. To provide context, the course is a junior level class in Virginia Tech's environmental informatics major. It is also part of our general educational requirement for advanced quantitative and computational thinking. Its prerequisites aren't specific, but require some prior experience in quantitative and computational thinking. It is a prerequisite for environmental informatics senior capstone course, but it includes students for multiple majors across campus. The class is designed as 275-minute periods per week over the 16-week semester and has between 15 to 25 students. I've taught it twice, including the last spring semester they required moving it online halfway through. The 10,000-foot view of the class is as four phases. First, the students get their feet wet with a straightforward but interesting module, followed by multiple weeks of training in data science with ecological applications. Then the students have multiple weeks of practice with real data, different kinds of data sets, and introduction to key new data science concepts that builds on the multi-week training. Finally, the students are given more independence in analyzing a data set where the process of analyzing isn't as laid out in the assignments. The course also teaches fundamental environmental science concepts, allowing it to cover multiple environmental grand challenges. These questions include, how does climate change alter lake temperature? How is global ice cover changing in lakes? Where are rivers in the U.S. exceeding legal nutrient levels? How are global temperatures changing and what is causing it? How much carbon dioxide does a forest remove from the atmosphere? How much carbon is stored in a forest ecosystem? The challenges I had when developing the class were combining environmental learning objectives with the data science skill objectives. To address this challenge, I linked existing standalone environmental data science modules together. These existing modules have been vetted and tested, ensuring quality. But as standalone modules, they do not make a coherent course that builds skills over the semester. Furthermore, the existing resources use a range of data science tools, including Excel, R, and Python. Building coherence in the computational framework and trajectory of skill learning is a unique contribution my course provides to the larger community of educators. The materials are all available on GitHub as different modules. I recommend visiting the page to see them. By hosting them on GitHub, you can see my updates as I edit and improve the course. Each of the modules addresses an environmental question, and all but module 7, module 7, are derived from excellent standalone modules. The goal of module 1, which is part of the MACR systems eddie project, is to get students working with R, using a lot of guidance, but allows them to quantitatively answer a question early in the class. Module 2, which is build up data carpentry, is the core training in R for data science, and it's over a seven class period unit. Modules 3 through 6 are the practice modules, and they're from project eddie and from the cubes hub, neon cubes hub. And module 8 is the more independent variable, and that's one that I have developed as part of this class. And it directly uses neon data and was also developed as part of a cubes workgroup. I'll now go into details of the few of the modules. So module 2 uses the data carpentry resources, which I point you to here. It's an excellent, excellent resource for teaching the basics of data science in R, using an ecological data set. The data science skills that this module helps build up are R basics, data types, comments, execution, importing data, saving modified data, cleaning and filtering data, working with continuous categorical and daytime data, mutating data, which is calculations based on columns, summarizing data, pivoting data from longer to wider formats, and plotting data. So focusing on modules 3 through 6, the general structure of these is to first introduce students to the environmental data science concepts, where I largely have just modified the instructor lesson PowerPoints from project eddie, or from the neon cubes. Second, I introduced data science concepts using live coding of the new functions and approach they'll need to apply. These all build on the data carpentry module 2. Finally, I introduced students to the assignment by walking them through the assignment and the expectations. After all the, all the introductions of student work work for one to two more class periods on the assignments and I applied help provide help as needed, and the students allowed to work together on these modules. As an example, we're going to look at module 3 that focuses on lake ice phenology from project eddie resources, and it's here's where it is located on the course GitHub. A description of the module can be found in the read me file that is in each module. The assignment can be found in the assignment directory, the presentation and code to teach a new data science skills in the data science skills directory. And the presentation for introducing the science concepts is in the science introduction directory. As I mentioned the modules built out the project eddie module of the same name. If you're interested in incorporating similar science concepts, but want to use Excel in your class, I recommend directly using the module on the project eddie website. The module is mostly focused on practicing the skills developed in the data carpentry model to but add skills and linear aggression, and in our markdown generation. So here's an example of the assignment. The assignments are structured as our markdown documents that students work through, and they generate a final HTML file that is shown here on the right that includes text code results and figures. I highly recommend our markdown which is what is shown on the left because the assignments include easy to read text. And clear parts called chunks where students write code. You can see that's where it says insert code. When the students generate the final HTML, a process called knitting it reruns all their code. This forces the students to generate reproducible assignments and creates an easy to read document for grading. Our markdown are similar documents that mix text describing the analysis and the analysis code are increasingly used in the data science community. Visualizations of the data and analyses are a key focus of the class and I grade each figure they produce using a rubric. This is an example of a figure that plots the day of year that ice is no longer covering a lake over time for six different lakes. Students learn that a seemingly complex figure is easy to produce an R. Once you learn the key functions. The next module uses water quality data from the USGS to examine whether measurements of nitrate in different rivers across the US exceed the EPA limit. Again, this is based on a project any module that converted into our and emphasize the environmental science questions that also build new data science skills on top of what was learned in the previous modules. In particular students learn how to import data sets that don't have a standard header format, use if statements and code, apply loops to scale up analysis, pay strings and numbers together and communicate with an API. Here's an example of the data they have to read into our I stress in the class that they cannot just open a file Excel and delete the lines that aren't data because that does not scale up scale well. They always have to work from the raw data, even if it looks ugly and hard to work with initially. Finally, the course includes two exams. The exams use a real data set the students have not seen and requires them to complete a simple analysis within the 75 minute class time period. The analysis is relatively easy, but requires baseline practice to finish in the time and simulates a live coding job interview. The easy but timed exam complements a harder but multi week modules. I'll wrap up with some lessons learned. First, for reasons I previously mentioned I recommend using our markdown for assignments. Second, I found our studio cloud to be a powerful tool. Our studio cloud is an online version of our studio hosted by the RStudio project. It allows me to create a common workspace for all students. And since it is hosted on our studio servers, all students have the same computational environment. The server comes the issue which is all too common of at least one student not being able to install or run our on their computer. It also allows me to log in and see a student's code so that I can provide feedback. Our studio cloud is going to start charging for use in larger classes. So the cost may have to be included in a course budget. Finally, my take home messages are one, you using real ie not pre processed data is an opportunity to teach students data science skills to get the data in an analysis ready form that allows them to address an environmental science question. Two, there are a lot of excellent and some less excellent modules for you to use in a class that teaches both environmental and data sciences. However, the challenge is integrating them into your class without them seeming disjunct. I recommend focusing on efforts to modify existing modules first to build coherence around your learning objectives, then work on building your own modules and give that back to the community. Thank you for listening to my talk and my contact information is below if you have questions. Again the materials for my class are on the GitHub link on the slide. And there's a 45 minutes seminar describing the class and more detail that's also available, and I've provided a link to the slide. And again, many thanks to the educational community that's provided such great resources that allow us to bring them together to build coherence and opportunities for our students to learn both data science and environmental science simultaneously.


So today, we're going to be talking about Greece proper. And when I mean Greece proper, I mean Hellenic Greece. This is where the Minoan civilization was headquartered on the island of Crete down here. The ancient Bronze Age civilization of Mycenae was located on the Peloponnesian Peninsula, more or less here. And we have a kind of expansive territory for Hellenic Greece. And Hellenic Greece basically means the Greeks that developed into the civilization that gave us Periclean Athens and Greek philosophy and Greek drama and so forth. Let's look before we look at the architecture at some of the other artifacts that were produced in ancient Greece. There's a progression if we look at the pottery styles and there's a progression as we look at the sculpture styles. And I think both of us brings us away from a sensibility that we saw characteristic of, say, Egypt and brings us nearer to a very different sensibility that is typical of ancient Greece. So this is an amphora. An amphora is simply a description of the shape of this piece of pottery. An amphora from around 800 BC. 800 BC is more or less a date that described the time that Homer was writing his great epic poems, The Iliad and the Odyssey. And if you look at the ornamental pattern here, well, we can't see it very closely, but here's a little detail of it. It's very geometric. So some smart guy got the idea of calling this the geometric style. But in its geometric abstraction, it kind of reminds you of the way Egyptian ornament is applied. There are bands of things. Figures are not closely observed from nature, but rather stylized according to a formula. But already a few hundred years later, and this is quite contrary to the way the arts moved in Egypt, where for 3,000 years you had a elaboration of a decorative program that remained more or less consistent. Here, by 300 years later, you have quite a different sense of what it is to observe the world, what it is to represent the figure. You see these kinds of battle scenes, and they're really, really great. It's astonishing how much kind of muscular energy and specificity and dynamism and action they manage to get into this linear drawing. We see here two different characteristic styles of Greek pottery. And from the point of view of an architect studying space, it's interesting. Well, these are red figure vase, and this is a black figure vase. And the difference is what makes the figure and what makes the ground. And in architecture and in art, everything that you see is difference against a field. So for example, you see here my bag on a table, fabulous. It's an object. This isn't a very good example, but you see here the space contained in my coffee cup. So this is a void described by a solid edge. So that's the technique of making the different kinds of pottery. The clay is basically red. So anything that you see that's red in Greek pottery is the clay. The black is essentially lacquer. So in red figure pottery, the figure is left void and the edges around the figure are painted in with lacquer, with some incised lines. And the opposite technique happens here. The figure is painted in and the background is left void. Sometimes you find a piece of Greek pottery where it switches fairly effortlessly from red figure to black figure within the same image. And at those moments, it reminds me of stuff that MC Escher, the 20th century artist did systematically over the course of all of his work, where he would play with something and let's say this more or less looks like a field of things that are evenly disposed between the black and the white. And you untangle the figure and the ground until ultimately pure figure, the birds in the sky emerge.  Anyhow, that's the pottery. But what's really important about the pottery is the way in which nature and the physical world and form are being looked at in a way that is much, much more attentive to the specificity of the human figure than anything we saw in ancient Egypt. If you look at the sculpture, it becomes even more clear. This is our old friend, Ranafer, an old kingdom Egyptian guy. And we know all about him. What makes him so Egyptian looking? Who would like to help me out with that? Danielle. Right, he's static. He's not moving. He's almost like that block of stone that he's engaged with. What else is so Egyptian? Yes. It's incredibly frontal. In fact, there isn't even a back. He is embedded in the stone. So the only experience you really get of this is looking at it straight on. There is no benefit to walking around the figure and understanding it as an object in space. It's the same guy that you see for 3,000 years in Egypt. And right next to him, we have a chorus. A chorus is simply the name of a figure of a young man in Greek sculpture. Might mean young man, I don't know. It's archaic. And archaic just means it's an early moment in Greek sculpture. This is about 600 BCE. And there is a clear cultural connection between the Egyptians and the Greeks here. And we know that the Greeks were visiting Egypt even at this period, even before Alexander the Great ultimately conquered Egypt and instituted the Ptolemaic rulers. But you see basically the same position, basically the same guy with the difference that this is now a figure in the round. You can walk around him and it's a nude figure. So there is a celebration of the human body rather than the ritual wardrobe going on. And by the time we get to this figure, which is just 550 BCE, it's not simply a figure, but it's a fully kind of muscled figure. We're beginning to see the body as something that's not simply columnar, but talked with a kind of latent energy. And the facial expression becomes slightly different too. There's this thing called the archaic smile, which is a really creepy smile. We see it here and we see it also here. This kind of smirky little weird guy thing. So if we take the example of the transformation of the male figure just a little bit further, and by a little bit further, I mean 80 years or so, 100 years further, we come to the critios boy. And by the time we get to the critios boy, we're starting to look at a real classical Greek sensibility. We're seeing one really strong difference in how this figure is positioned in space. And that is that he's not frontal anymore. There is this torque in his body. It's called contraposto, easy Italian word. And it simply means contrary posture. The torso is going one way, the shoulder is going another way. And the contraposto begins to enforce a sort of turning in space. It begins to spatialize the field around the figure and render the figure fully plastic. Now the word plastic in everyday parlance in Columbus, Ohio means something that everything you own is made out of. But plastic in its true sense means three dimensional. So if you talk about something that's a plastic entity, it's something that you can experience as an object in space in a complex way. So a critios boy is fully plastic. Ronifer, the Egyptian guy, is frontal. And not fully released as an object in space. In addition to the way the contraposto begins to activate the figure and the space around him, there's also a study of geometry that's quite different from the Egyptian canon that we observe when we talk about Egyptian stuff. The Egyptian canon was more or less modular. You had a series of repeated units. The proportional system favored by the Greeks is geometric. And geometric doesn't simply recapitulate the same dimension again and again and again and again. But geometric progressions unfold over space so that you get a kind of hierarchical range of difference. But they are nonetheless locked together in a kind of mathematical rigor that confers meaning to them. Because after all, mathematics and meaning give order to the world and explain the universe. And you get all kinds of little snippets of antique thought that begin to make you think this is really important. This is not simply me drawing swirls all over the credious boy. For example, Protagoras says man is the measure of all things. But I think even more interesting is the notion that beauty consists of many numbers. This is this little fragment of ancient thought that comes down to us. And if you think, well, what do they mean by beauty consists of many numbers? You think, well, maybe that means ratios. Maybe things like geometric progressions begin to organize things. And the correspondence between a mathematical beauty and a physical beauty makes this thing transcendent. Well, I'll get back to that in a second. I just want to tell you a little bit more about the golden rectangle. Is anybody familiar with the golden rectangle? Good. Lucky you. I'm gonna put a link on Carmen to a movie called Donald in Mathemagic Land. Or maybe I'll show it in class. It's such a good movie. Have any of you seen that? Good. It's great. I mean, it's all about the golden rectangle or it's all about how mathematics and nature lock together. But the basic principle of the golden rectangle is that there's a ratio between the width and the length of the system. And the ratio constantly recapitulates itself as you decompose the system into another ratio of width to length. That's the same as this width to length to this width to length to this width to length. And you always get a square and a golden rectangle. It spirals down infinitely. And it's also the same kind of spiral you might get in a shell or in a pine cone or in a flower. So it's magic. Donald Duck admired it and you should too. So here's the golden rectangle. The reason things like the golden rectangle are important has a lot to do with Greek philosophy and how people viewed information that could be apprehended through the senses versus information that could be apprehended through reason. Like if you look at something and you think, wow, beautiful flower. I adore this flower. Or great-looking cridious boy. Very handsome fellow.   Your senses are subjective and leading you away from truth. What you want is an objective truth that's knowable to all people and verifiable to all people and not corrupted by the senses. And therefore you have things like mathematics. Plato in the Republic gives you the allegory of the cave. It's the philosopher's cage. And he talks about a philosopher sitting in a cave with his back toward the opening of the cave. And his entire knowledge of the world has to do with shadows that get cast on the wall of the cave from things passing in front of the opening that he's not looking at. So his senses tell him something about the world based on these shadows. And the shadows are so reduced based to the richness and the complexities of things outside the cave. But that's his only knowledge of it. He turns around and looks at the opening of the cave. There's so much knowledge that he's blinded. So it's a difficult thing. Reason becomes a tool. Mathematics becomes a tool that begins to allow individuals on earth to have some knowledge of real truth rather than the subjective truth given to them through the senses. So here's a fabulous Critios boy. And here is Polyclitus's Doriferus. And Polyclitus gave us that little snippet of information called Polyclitus's Canon. Beauty consists of many numbers. One of the great Greek sculptors. If you look at Polyclitus's Canon compared to the Critios boy, poor old Critios boy looks almost Egyptian. Now you see this transformation toward things that become more and more plastic, more and more spatialized, more and more activated in the space around them. Like we were giving Critios boy lots of credit for Contrapasto, for this little bit of torque. We see in the Doriferus this fully liberated Contrapasto where not only the torso, but also the arms and the legs are beginning to enclose space and activate the entire terrain. Polyclitus is Doriferus, probably muscled, like that beautiful bull that we saw last time. And part of the reason that he's so hyperarticulated, I think, is that Polyclitus really wants to show all of these mathematically connected subdivisions of the human form to mathematical form. And so you get these amazing definition of each pectoral or each, you know, I don't know the names of muscles. I know pectoral. Give me credit for that. So you see how the golden rectangle begins in an incredibly specific way to explain the differences in the Doriferus. And the same kind of thing happens with female figures. We go from quite early archaic things that look a lot like something that we might have seen in Egypt, columnar, stiff, ritualized hair and headdress to a chore. And chore is simply the Greek word for female figure or statue. Archaic chore, also like a column, not like a person, not turning in space. And eventually, moving us toward that Canadian Venus by Creccitalis, this amazing hypercontrapostal twisting figure who not only is articulated to reveal the geometry of the figure, but also things like her drapery are not simply ritualized folds, but things that seem to be affected by the weight of gravity. So things are changing in pottery. Things are changing in sculpture. And things are also changing in architecture in a big way. Sadly, we don't have all the texts we really want to have from antiquity. We just have fragments.  And we have almost less from architecture. There are no treatises on architecture from Greek antiquity that remain to us. But some bits of that theory were incorporated into a treatise written by a Roman called Vitruvius. And Vitruvius talks about this myth that explains the origin of architecture. And that's the primitive hut. So Vitruvius says that the original act of architecture was really the twining together in the forest of branches, of trees. And lo and behold, when you do that, when you make a primitive hut, you're doing something really essential. You're not being subjugated to the style of the Egyptians and recapitulating that. This is a real, authentic, original act. Yet you get something that looks a lot like a temple, that looks a lot like the kind of temple you would have had in ancient Greece. You also begin to get something else happening early in archaic Greek temple architecture. And that is the orders, the formalization of the orders. And the orders is simply the word to describe this system of columns and horizontal, spany elements called and tablatures or architraics. In Greece, there are three orders, Doric, Ionic, and Corinthian. And the orders, it's important to remember, are not simply the column. They're not simply the column capital, but it's all about ratios. It's all about the space between things. It's all about the diameter with respect to the height. It's all about inter-columniation, the space between the columns. So when you look at the orders, it's an easy mistake to say when you look at a capital, oh, well, it must be Doric because there's a lot more going on than that. Primitive hut, ha. Primitive hut, one of the things that Vitruvius implies in his description of the primitive hut is that a lot of the stuff we see in Greek architecture, like these elements in the Doric freeze, these little stripey, three stripey things are called triglyphs, which means three stones. And any time you see a Doric freeze, you'll see triglyphs. And the idea is that triglyphs carry within the memory of this earlier timber architecture. They carry within the memory of a primitive hut. And this is just some shed primitive hut, or contemporary primitive hut. And you can see the ends of the beams coming out here and giving you something out of timber architecture that in a very crude way begins to suggest the kind of rhythmic marking of the Doric freeze with triglyphs. This is maybe a better view of what these Greek orders look like. Doric, and the Greek orders are all anthropomorphized. Anthropomorphic means in the shape of a human being. So if something is anthropomorphized, there is kind of latent within the column the idea of the human being. So you have things like capital, which describe the top of a column, and kaput, which is Latin for head. So the capital and the head are the same. The shaft of the column is the body of the column. The column bases the foot of the human being, the foot of the column. So every column is latently anthropomorphized. And these are the characteristic capitals. The Doric has this sort of round, splaying torus. It's masculine according to Vitruvius. It's the stoutest. It's got the most robust proportions. The ionic is matronly. And by matronly, it would be a good order, say, to use if you're making a temple to Hera, kind of mother goddess, Jupiter's wife, or Zeus's wife. And the Corinthian is maidenly. So if you're making a temple to one of the maiden goddesses, like Artemis or Athena, that would be a good one to use. Not that they are rigorous about this, but this is at least the description that Vitruvius gives us. These orders also have to do with different regions in Greece. We have the Doric area being more or less in through here, and the Ionian area being more or less close to the Turkish coast. So there is a kind of regional preference for ionic in the area of Ionia and Doric in the Doric region. And Corinthian is just this little area right in through here. So the Greeks had an amazing sphere of influence in their heyday. They were great maritime people, great builders of boats, great builders of cities, and all of this red stuff clustered at the edge of the Mediterranean shows you places where the Greeks had thriving civilizations and trading posts. So what's astonishing and interesting about this is that you frequently find some of the best preserved Greek sites, not in Greece at all, but off here in Italy. Some really great Greco-Roman, we say, Greek but yet Roman sites. Archaic Greco-Roman sites are in Sicily and near Naples in Paesto. So let's talk more about the orders as a system of relationships. What kinds of things do you need to have? Mostly, it's a relationship between the horizontal and the vertical. You have to make that work somehow. If you look at these drawings here, we're seeing Ionic and Doric. And they're cutting the column because they don't have enough paper to make the whole column in there. But you're supposed to understand that there's some big old shaft in here. And what you might notice immediately is that something strange is going on. The top part of the column and the bottom part of the column are not uniform. It's not a column that is a kind of extended cylinder like you would find, I don't know, in concrete architecture today, in Noltenhall, in a Corbusian villa. But rather, it's an architecture that tapers. And it tapers in a very specific way. It doesn't simply taper up continuously, but it bulges. There's a one-third bulge in the middle. You'll see the word written, but I'll spell it for you right now. It's called antesis, E-N-T-A-S-I-S. And that has to do with this bulging of the column, which is considered to be one of the optical corrections of Greek architecture. The truth of the column is transformed to make the subjective appreciation of the column stronger. So when you look at these columns with antesis, you begin to see something that almost looks like a muscle bulging, as if the column is expressing the load that it's bearing through the bulging of the muscle, through the bulging of the antesis. There are a couple of other things that are worth noting here. The ionic freeze is kind of up for grabs. If you have an ionic temple, you can put any kind of sculptural program that you want up there. But the Doric freeze, and the freeze is the stuff on the architrave, this kind of decorative stuff, the Doric freeze is highly ritualized. The Doric freeze is going to be this kind of rhythm of triglyphs. Both of these are deeply flawed orders. We'll talk about that later on. I'll first show you a few archaic temples before I tell you why the Doric is so terrible. We've spoken a lot about type as something that helps us organize ideas about variations in different buildings. And many of the types we've discussed, such as funerary temples or pyramids, are ones that really don't have that much currency today. We don't see a lot of them when we walk around. But the temple is a type that has endured. And one reason it has endured is that its form alone begins to symbolize things that we associate with a grandeur of Greece, things like the birthplace of the democracy, or things like the birthplace of high cultural institutions, a place where art and architecture and theater came into their own, a place where philosophy flourished. And so it's not surprising that we see banks formed like temples or academic buildings with temple pediments slammed in front of them. So let's look for a moment at a temple, at an archaic temple, a very early, early temple. This is the second temple of Hera in Samos, mid-7th century. Proportions are wacky. If you look at this thing, it barely looks like a temple. The eaves rake too sharply. There's a column in the middle. You might almost be inclined to think that it's more like a picture of the primitive hut that we looked at earlier on when we were describing the mythical origins of architecture than what has come to be defined as a more gentle slope to the typical temple front. But even with all of its roughness and its primitive elements, like these kind of strangely organized columns running right down the middle of the cellar so that it really becomes difficult for any kind of ritual activity to take place in there, or even the columniation at the center where you would expect entry to take place, there's a column. Very primitive variation on the theme, but it has all the pieces that you need to make it a temple. It's got the type. It's got the things you need. A cellar, a colonnade or Tehran, a platform or a stylobate, a pediment, albeit a kind of funny-looking pediment. In towards a new architecture written in around 1919, the great modernist architect Le Corbusier looks at Greek temples and he looks specifically at archaic temples. And he uses this as a way to think about how architecture progresses. This is a page from his book, and it's a funny page. And what's funny about it is that things are paired that you wouldn't think you could pair together. An archaic temple in Peistum and a kind of kalunky old, I don't know, Duesenberg. And over here we have the Parthenon, considered by many and certainly considered by Le Corbusier to be the greatest of all the Greek temples. And he pairs it with a snazzier car, more streamlined, more chic. Let's call it a Bugatti. Now the argument Le Corbusier is making is that the architect should think like the engineer. The architect should identify a problem, identify the questions that need to be solved. And once that has happened, like the engineer, like the automotive engineer, refinement can take place. Once you ask the question, you can begin to find the answer. Corbusier says, once a standard is established, competition enters in at once and violently into play. It is a fight. In order to win, you must do better than your rival in every way. And so he's thinking of architecture as a struggle, as a struggle toward perfection or toward the best possible solution to the problem posed. And if we compare the Duesenberg and the Bugatti, we can see things that Le Corbusier would be interested in. For example, the Duesenberg is additive. It seems like anytime the engineer got an idea, he just slapped it on, like a seat would be good, let's put one there. Another seat would be good, let's put one there. How about a steering wheel? Oh, we better get a steering wheel. Let's put one there. What about a fender? Let's put one there. And the car becomes an assemblage of these odd ideas and they're all good ideas, but the design has not yet taken form. In the Bugatti, there's a idea, there's a formal idea. It is this bar-like element that's been carved and manipulated. And all of these good ideas, like front seat, back seat, fender, steering wheel, find their locus within this strong form. And Le Corbusier would say here, in Paestum, the archaic temple, the germ of the idea has been identified. Get some columns. Make the columns muscular. Give them some emphasis. Develop a style of eight or a platform. But then, the refinement has to take place. The proportions, the detailing, the systemization of all these ideas into a large overarching idea. And you can see that the march from Samos Temple toward the Parthenon was not a quick one or a univocal one. This is just a collection from Sir Banister Fletcher's comparative history of architecture. And it shows you how ranging the variation of temple types can be. You can have two rows of columns surrounding things. Dipteral, you could have one row of columns surrounding things. You could have, it seemed as though two rows of columns are surrounding it, but really just one, pseudo dipteral. Or the columns can actually not be in play, but you can simply extend porches in both directions. So these are all variations on the theme. And the theme is so strong that it can sustain all this variation. This is a little Megaron, our friend from Mycenae, as a point of comparison. Topologically, they're kind of different, which is to say this has a hole in the middle, a little atrium, and this does not. But if you forget about that, typologically, they're not so different. Insofar as there is a portico kind of antechamber or mouse and a main chamber, that procession through a series of spaces that's already established in the Megaron finds its way into a highly formalized and highly variable system by the time we get to the temples. And again, these are the pieces that you need. You need a cellar. That's where you put your cult statue. You need a platform, because this is sacred ground that you're occupying. And so you want to carve off a piece of that ground and make it distinct. You need the colonnade. You need a porch or pronouns. And you need a cult statue. Somebody like this, a cult statue. So I'm just showing you here where the cellar would be, and this is a section. And these sections are all speculative. Speculative based on archeological evidence. This would have been 19th century archeological evidence. So probably better images of the Athena statue in the Parthenon would be conjured up today, but this is a spectacularly dramatic one. Again, here we see the cellar and the cellar in section again in the Parthenon. Another really interesting thing about the constituent pieces of the temple are these columns that surround it on all sides. Because it's surrounded on all sides by columns, it really begins to operate in a way that's quite different from, say, the Egyptian temples. And that is, it begs to be viewed obliquely. It begs to be viewed in the round. The same sensibility and longing toward plastic understanding, let's say three-dimensional understanding, that we saw in the advancement of Greek sculpture with a contra-pasto, forcing an oblique view, forcing you to move around it, happens here too with the way the columns are organized with respect to their site. This is a archaic temple in Agrigento, the ancient site of Acragas in Sicily. The proportions you see here are stout. These archaic temples are great-looking because all of these elements, like the triglyph on the Doric Frees and the pediment and the columns, they're all here but they're extra stout and extra robust. And the same is true of the temple of Hera II in Paestum, where the columns almost look like cartoon drawings of columns. And the spleen out of the column capital almost looks like a mushroom growing up on top. These are just some plans. This is the Hera temple that we just looked at, which is the temple with the giant mushroom column capitals. And you can see in plan how robust those capitals are. This is another temple in Paestum we didn't look at. And so another element that's going on with all these temples is the whole idea of optical corrections. On one level, the temple is hyper-idealized. The proportions are set. The disposition of parts are set. The sequence through it is set. But the ideality comes into conflict with the perceived world and the building makes adjustments for that. So one of the adjustments is a curved stylobate which makes it seem to hug its side. Another adjustment is the flare of entices which we've talked about before and the bowing of the architrave. This is a little drawing by William Dinsmore where he speculates on what a temple would look like if you actually had all those optical corrections exaggerated so that they could actually be perceived. But the fact is they're very subtle. You barely see them at all. Or if you see them, you see them as a kind of flexing or expansion or yielding of the building to the pressures of the site and the pressures of gravity experienced by carrying its own load. Probably the most extraordinary thing about Greek architecture is the whole idea about the site. There is this notion of genius locus or spirit of the place that is a guiding principle in organizing sites. The notion is that architects don't simply impose a geometric order or some kind of civic system of organization on a site. But rather, the site is already sacral. The site is already inhabited by spiritual presences and the task of the architect is to make visible and to house the sacrality already there within the site. So this is Segesta. It's a site in Sicily and you can just get a sense of what's going on by looking at the landscape. And this is Delphi, Delphi, Sanctuary of Apollo, on follows of the earth, the navel of the earth, the world collects together here and organizes itself around Delphi, according to the Greeks. And you can see how the mountains begin to well up and ring this space and that the theater positions itself in a powerful way to make understandable that organization. It's interesting also, I think, to compare Greek space to the space of the Romans, which we'll get to later, but you could say the space of a lot of people because Greek space is really quite special. This is a drawing by Le Corbusier, again, from towards a new architecture. Le Corbusier just loves the Greeks. He thinks they're doing everything right. And part of that is that they're not too dictatorial. They're not too driven by rules. I think Le Corbusier loves the optical corrections and loves the shifts and the specific engagement with the site in a way that, say, architects 200 years before or even 100 years before wouldn't have understood. So here's a drawing where he's comparing the entry to the acropolis to a form, the form of Pompeii in Roman culture. And the argument that Le Corbusier is making here is that the primary way that you engage these Greek temples is as objects in the round. You see them obliquely. Not only do you see them obliquely, and this is the Parthenon. We see it over here. This is just the sketchiest little edge of the Erechtheon, another temple. We see it over here. But they don't simply make local adjustments, but they make broader adjustments. Cult Statue of Athena here and a mountain range, a sacred mountain behind it that gets framed by the splaying of these two things. So if the Greek architecture is all about figural objects that begin to activate the space around them, a very different condition is going on here in Roman architecture. Here we have temples, and if we were to look at the facades of the temples frontally, we'd see pedimental buildings with columns looking very much like our friend the Parthenon. However, they function primarily as edge and not as object. They are frontal. They are not fully plastic. They have an engagement with a figural space and they surrender their own figureality toward that end. Again, here's a drawing of the Shrine of Apollo. And there are all kinds of interesting things going on. This is the Athenian treasury. This is a very, very important shrine. We said it's the navel of the universe. Better be good. And all the city-states, or many of the city-states, have little treasuries here where offerings from their city could be placed to propitiate Apollo. When you move up through the site, here's the big Apollo temple, here's the theater, and notice these strange lines. Those lines don't exist in space. Those lines are part of a diagram drawn by an architect, actually a city planner called Constantinus Duxiatis. Originally in 1937, quite a long time ago. Quite a long time ago to be a city planner, but Duxiatis embraced the spirit of modernism, moving forward, getting Greece out of the village culture, building cities. But at the same time, he was nervous about what city planning had become already by the middle of the 20th century. What he was nervous about was that city plans, modernist, functionalist, avant-garde city plans, were being deployed in a fairly relentless formulaic way. Here's a building, here's a building, here's a building, here's a building, here's a road, here's a road, grid, grid, grid. And you would get a density and you would get traffic moving smoothly. But somehow, the specificity of the place would be lost, it would be erased in this action.  And one of his big ideas has to do with these radio lines. And the argument that he's making is that Greek space is organized very, very differently from the Egyptian space that we looked at earlier, whether Manoan space or the Mycenaean space, and also quite differently from Roman space, which we got a little glimpse at when we looked at Pompeii. Rather, it's organized based on special viewpoints, idea of the plastic object turning in space, places from which this can be viewed. So here we are in the theater of Delphi, looking down, and all the buildings arrange themselves in such a way as to be viewed obliquely as fully plastic objects, and also to help us see and understand the landscape beyond. It's hard to get a good understanding of how the Apollo temple works now because this is all that remains of it. You just wish everybody would build up the old ruined things. Just a few views of Greek sites to give you a sense of how powerful they are. Segesta in Sicily. Again, it's this kind of curved bowl of mountains surrounding this thing in three directions with views out toward the sea in another direction. This is the lower, sacred way of Delphi. And Daciatus performed this analysis on a number of sites. This is the sanctuary of Olympia. And Daciatus was really not an archaeologist, and so archaeologists would probably find these drawings to be difficult, but he was a planner. And what he wanted to do with his analysis of historical evidence was get good ideas to make the work that he did in his own period as vital and important as the work that the ancients did. So we've been talking a lot about type. We're gonna keep talking about type. Well, we're gonna keep talking about type through antiquity and then pretty much all the types get set. And the type we're talking about now is theater. Different kind of theater than the ones you go to at the multiplex. Greek theater is a kind of partial circle organized around an orchestra, which is where the action takes place with a kind of stage back behind it. This is one of the best preserved Greek theaters, the theater at Epidaurus. This proscenium has been eroded over time, but it wouldn't have been so tall that you wouldn't have been able to see the landscape beyond it. And so one of the things that's so powerful and so important about these Greek theaters is that they, like the temples, they find a place in the landscape that needs to be clarified in its power and made visible in its power and its geometry. So here in Delphi, we looked at it briefly before, we see how the theater locks into the natural geometry of the site and makes possible a stronger understanding of how important this point is. And the same is true here in Epidaurus, where the theater built into the natural declivity of the hill makes visible organizations that would otherwise be lost. Of course, theater was really important to the Greeks. And one reason theater was so important to the Greeks is that it wasn't simply entertainment, it was part of their religious beliefs. Friedrich Nietzsche, who was a great 19th century philosopher, wrote one of his treatises specifically on this topic, The Booth of Tragedy, The Origins of Theater. And for Nietzsche, and also for other people, but again, Nietzsche is more poetic than historical, so he's more fun to read. For Nietzsche, the origin of tragedy, the origin of theater had to do with a battle between rival cults. In the most ancient days, Greece was ruled by Cthonic deities. Cthonic is a funny word, C-H-T-H, one of the few words you'll ever find that starts that way. And the Cthonic deity, one of the Cthonic deities was Bacchus, or in Greek Dionysus. And Dionysus was a god of drunkenness and revelry and dance and also dismemberment, which would make you a little bit alarmed. You see this pretty lady here? She's probably one of the main ads. And the main ads were these best friends or let's say a group of followers of Bacchus or Dionysus who would go into a frenzy. They would drink themselves into a frenzy with wine. And when they were in a frenzy, they would find goats and tear them apart. And it's been speculated, people have speculated that this notion of dismemberment is not maybe literal, but it has more to do with the notion of the dissolution of the individual into nature. It's becoming one with a natural continuum rather than the focus on one's own self. And in opposition to the god of drunkenness, you have Apollo, the god of light, the god of reason. So in Nietzsche's birth of tragedy, it is a history of Greece or in a history of philosophy and a history of ways that people engage the world based on the rivalry between the Dionysian and the Apollonian ways of being. You pick which one you like better, this one or this one. But even in Greek drama that comes down to us, we can see aspects of the Dionysians, these ecliptonic gods who were overtaken by the Olympian gods. We can see the trace of the ecliptonic deities in the idea of the chorus. And the chorus of chorus is multiple rather than singular. So you have the hero, the tragic hero, let's say, an Olympian figure and the chorus, a pre-Olympian or Catholic deity figure and they come together in drama.