Out of the station, we open our newspaper to the March of Events and City Life section, a section of wit and humor that appears in hearse Sunday newspapers throughout the country. Here we find the writings of America's foremost laugh provokers, O. O. McIntyre, Sam Hellman, Will Rogers, Arthur Bugsbear, Milt Gross. There are also sparkling cartoons by the leading humorous artists of the day, a million dollars worth of mirth and merriment. So what's this we have at the top of the page? A cartoon showing a reception room of a business office. An attractive girl is seated at a desk, and an eager young man with a book under his arm has just come in. I'd like to see Mr. Wallington. I'm afraid you can't do that. You see he is. Yes, but it's very important. Important to Mr. Wallington, I mean. I'm sure Mr. Wallington wouldn't be interested. You see... But I'm certain that he would be interested. I know all about Mr. Wallington. He's a very farsighted and ambitious man, always looking for anything that will broaden his viewpoint. I have a book here that will do just that. Oh, so that's it.  Well, not exactly. I represent the self-advancement company, Incorporated, and we have compiled a book entitled Self-Help, which gives the secret of all six... There's no use of your wasting your time. You see, Mr. Wallington has just done something that... I don't care what he has just done. Whatever it is, this book will help him do it better. You think so? I know so. Just tell me what he did, and I'll prove that he could do it better. Well, he just jumped out of the window. Love calls! Places in this world, but you never heard of one as tough as Rufftown. Arthur Bugsbear tells all about it in the March of Events and City Life section of the Hearst Sunday newspapers. The heavyweight champion of Rufftown is a guy named Wallamann, but just now a pall of anxiety hangs heavily over the town. Wallamann has been missing for several days. Let's hear what news there is today. I'm very spiteful, Papa Dell. Well, what are you supposed to hear? Well, the last anybody seen of him, he was playing leapfrog over the Rocky Mountains, just to get in shape. Well, maybe he stubbed his toe on one of them peaks and fell on a snowdrift. I thought of that, so I sent a pack of St. Bernard dogs up there with kegs of cognac around their necks. Yeah, did they find anything? We don't know yet. The dogs ain't come back. Hey, hey, what was that? That sounds like a dog barking. Now listen to that. You're right. There they come down the street. There's the St. Bernard's I sent out after Wallamann. Come here, dogs. Come here. There's something funny about this. What's becoming the kegs they had around their necks? Well, there's something tied around that ones, Nick. Hey, come here, puppy. Looks like a note. Yeah, there is a note. What's it say? It's from Wallamann. It says, thanks for the snifter. I enjoyed it very much. If you don't mind, please send up an elephant with a wine list. It is written by Sam Hellman in the Hearst Sunday Newspapers in all parts of the United States. The updykes are very mysterious people, the mystery being how they ever got away from their keeper. But here they are. We'll let you form your own conclusions. Hail, my sweet. What do we have on for tonight? Stranges that may seem, my sweet. We're going to the opera. Pardon me. I guess I wasn't listening. It sounded as if you said we were going to the opera. That's exactly what I did say. Mrs. Flugelman just called up and said we could have heard that for the opera. I have heard the opera. I resent that. You resent what, my sweet? I resent the idea that I would occupy a box that had previously been occupied by other people. Oh, so the Flugelman's box isn't good enough for you. Is that it? I've got nothing against the box. To be perfectly frank, I'd be glad to sit in it. They'd just move it out to the opera house. The trouble with you is that you're just a born Bulgarian. What do you mean, Bulgarian? I eat lots of meat. Aren't you thinking of vegetarian? As a matter of fact, I wasn't. I was thinking about an opera I wrote myself when I was a mere boy. What opera did you ever write, my sweet? What was it called? That's just the trouble. I couldn't think of a name for it. Oh, wait a minute. It seems to me the fellow I tried to sell it to suggested a name. What name did he suggest? I'm sorry, but it's nothing I could tell you over the radio. I'm not surprised. I should think you try to forget such products of your misguided youth. Yeah, that's a nice attitude to take. Always holding my past against me. Always holding your past against you, my youth. Oh, you are. Don't be silly. In the first place, how could I tell your misguided youth from your present condition? In the Hearst Sunday newspapers recently, Ovo McIntyre told what goes on behind the scenes in one of those strange marriages that takes place every now and then among the literary and artistic folks. Now, while these marriages may seem strange to us, some of them at least have greater lasting powers than the conventional ones. At any rate, here's what happened while a long-absent friend was visiting the husband. It's great to see you after all these years.  Oh, yes. I guess I'm out of luck for life. What's the matter? Are you nursing a broken heart? Oh, no, no. I guess I'm just afraid of the sacred institution of matrimony. By the way, where's your wife? Oh, she's home, I guess. I never met her, you know. I hope to see her while I'm here. I'll get her to have us over to dinner sometime. You'll get her to what? We don't live together, you know. Oh, I'm sorry, old man. I didn't know. That's quite too bad. What's too bad? Why, we get on famously, more in love than ever. Are you spoofing? Of course not. We never did live together. We just stayed the way we were when we were courting. I have my apartment and she has hers. But why such a strange arrangement? Nothing strange about it to us. Areas paints and I write. We have our separate interests and our separate moods, so we just keep our private lives separate and keep them getting on each other's nerves. But, uh, but when do you see each other? Oh, very often. I was over to her place only last night. She was giving a dinner party. But that wasn't very private, was it? No, but Areas asked me to come as a special favor. Special favor? Yes, she was giving this dinner party and needed an extra man. All aboard. Next stop, Will Rogers. Will Rogers writes with equally brilliant wit on every subject under the sun. That's one of the reasons why his articles in the Hearst Sunday newspapers have their ever-increasing following. The other day, Will was discussing aviation and told the story of a round-the-world flyer who landed back home after a particularly hazardous flight. We re-enact the conversation that took place between the flyer and a reporter. A few questions for me. Not at all, far away. I understand that aviation has reached the point where crossing the Atlantic is just duck soup. Is that so? I'll say it is. Unless you're lucky, it's exactly like flying through a mess of thick, gooey duck soup. That isn't quite what I meant. What do you consider the most difficult part of your flight? Was it when your oil feed line froze up? Well, that is kind of bad, but I had more difficult things than that happen. You mean when you made that forced landing up in Alaska? Well, that is plenty tough, but I've done more difficult things than that. Perhaps you refer to the time that you had to live 14 days on free chocolate bars? No, even that couldn't be called my most difficult problem. Well, what was your most difficult problem? Well, I should say it was trying to get some sleep after I landed up in Alaska. What kept you away? Well, you see, it was so cold, I had to sleep in my flying suit. Well, didn't that keep you warm enough? No, I was toast, but you see, my flying suit had zippers on it. What about it? Well, the Eskimos had never seen zippers before, and while I was trying to sleep, they kept zipping them up and down. Gross has created a lot of famous characters, but none has a greater following than Joe Runt, whose life story runs in her Sunday newspapers from the Atlantic to the Pacific. Joe is the kind of a trusting, good-natured guy who hangs on every word his boss says. The other day, he heard the boss raving about a trip to the scenes of his childhood. So right away, Joe decides to take a trip back to the scenes of his own childhood, and that's where we find him now, paying a call on his boyhood sweetheart, whose name is Epi. Gee, Epi, it's kind of nice to see you again after all these years. Oh, don't mention it, Joey. I didn't mind waiting a bit. Do you remember how I used to pull your pigtails back in a little red schoolhouse? Oh, that's why you look so different now. I haven't got a black eye, Joey. Gee, do you remember how I used to lead the old village choir?  And I'll never forget how we used to go down to that old village blacksmith under the spreading chestnut tree. And neither will I, Joey. It was all I could do to keep the blacksmith and putting shoes on you. Ah, gee, Epi. I often wish I had married you instead of Mrs. Runt. Oh, Joey, say, you ain't married yet, are you? Sure I am. Here's a picture right here in my watch. Oh, what's the matter, Epi? You look so sad. Will you excuse me a minute, Joey? I've got to make a phone call. Why, sure, Epi. Hello, Operati. Give me maypole 6431, ring two. Uh-huh. Hello, is that you, Clara? Mm-hmm. This is Epi. Mm-hmm. Remember that bet we made about 20 years ago? Yeah, that's it. Well, you win, Clara. Young Runt did get a wife. The Club Car Special goes its merry ways, scattering a cargo of laughs and chuckles everywhere. There is a continuation of this program awaiting you in the March of Events and City Life section of the Hearst Sunday newspaper and published in your community. There you will find long articles of laugh-provoking comedy written by the nation's leading humorists, Will Rogers, O. O. McIntyre, Bugs Faire, Milt Gross, Sam Helman, and others. No other newspaper provides such a wealth of comedy for your amusement. Follow these articles each week and keep in tune with the best and latest humor of the day. There are ripped tickling cartoons also. Remember, there is a full page of articles written by the nation's most noted humorists in the March of Events and City Life section in the Hearst Sunday newspapers. The Club Car Special program is scheduled to reach your home again at this same station next week at the same time. Be sure to tune in for another 15 minutes of chuckles.


In the notes that you will get, there is actually a very detailed tutorial in which I have taken essentially one or two circuits which produce glitches and then we just go step by step by step saying this is what the computer will do and then it will become clear to you if you just go through that that this is how the simulation proceed so that the concurrency and the time, they become quite clear to you.  So, the way the simulation proceed is the following the first step is the syntax checking grammar checking. So, you have described something and just like a C compiler or anything you will you check for the syntax that everything is according to the correct syntax. The second thing is elaboration the circuits are described in a compact way. For example, there might have been a 1 kilobyte memory. Now, you are not going to describe every bit of the memory right each is a hardware, but you will have some repetition grammar saying take this 1 bit memory and expand it 10,000 times or whatever, but when you do the simulation each bit is different and must be separately stimulated right. So, therefore, the circuit has to be elaborated has to be expanded out to its actual value. You might have described a circuit behaviorally for example, you might have said that a counter is a d flip flop with q bar return to d and then you may have 4 of them. Now, each one receives a different signal you have described the behavior of the counter only once that these are the properties of a d flip flop, but because of this interconnection each one of those d flip flops has a different behavior depending on what it is connected. So, while the description has it only once in reality it has to be repeated 4 times and such expanding out is done at the time of elaboration. However, at the time of elaboration a very important data structure is developed. This data structure is called the sensitivity data structure that means any piece of hardware is sensitive to some input that means its output has to be recalculated when that input changes. Now, in general combinational logic the output is sensitive to all its input, but that is not always so. Indeed you are all familiar with transparent latches. A transparent latch is such this is a transparent latch. It looks just like a d flip flop, but its property is that when clock is high q is equal to d if d changes q will change. That means it is transparent. So, any change in d will be reflected in a change in q this is a transparent latch. A flip flop on the other hand is exactly the same except that if the clock is 0 or 1 q remains fixed it does not change when d changes. Only when q clock has a transition then the value of d is read and assigned to q. That is the standard flip flop. The transparent latch simply says that when the clock is high q is a copy of d, when the clock is low the q retains its old value. Now, both of them look very similar. How will you describe them differently in a hardware description language? The behavioral description seems to be that when the clock goes to 1 then q equal to d. What is the difference between the latch and the flip flop then? 1 is no, no, but in this description see the value is assigned only once and it is assigned when the q goes from 0 to 1. Correct. q will not change, d can change. So, the only difference between them their behavior is the same. Their sensitivities are different. The latch is sensitive to clock as well as d. If either changes the output has to be recomputed whereas the flip flop is sensitive only to clock. If d changes q need not be recomputed. Only when the clock has a positive transition a new value of q has to be computed. This is the only difference in this way. So, therefore a circuit need not be sensitive to all its input. So, when we describe a circuit the sensitivities are inferred and these sensitivities are then made into a data structure and then you say that if there is a signal you make a list of all the circuits who are sensitive to you. Now, should the value of this signal change you wake up all the pieces of hardware who are sensitive to this signal. So, essentially it is a reverse mapping. When you describe some hardware you said this hardware is sensitive to this signal.  Now, you do a reverse sorting of this. You say this signal and u 1, u 13 and u 15 are sensitive to it. Signal b u 4 and u 10 are sensitive to it. So, you do a reverse sorting and this is done at the time of 11. Once this is done then the third step is simulation and in the simulation you have a loop. There is first step which is called signal update. That means all those transactions that at this time make the signal equal to this. So, at the current time if the time of some waiting is up then you update that signal at this time. So, first you do signal update you do not compute the effect of the signal update. Simply update all the signals which are waiting to be updated. So, all signals are updated first. Then evaluate which signal change and that is called an event. Because of this update it might be possible that a signal was updated but it did not change at all. For example, you might say make q equal to 0 at 30 microsecond. When the time became 30 microsecond you assigned 0 to q but it turns out that the old value of q was also 0. In that case no change has occurred but if the old value of q was different then you will say that q has had an event. So, all updates will not result in event only when a value changes it will result in an event. So, you check whether an event has occurred. First do the updating of all and keep track of which signals have had an event. And the next is called selected or selective simulation and what you do is a nested loop for each event for each component sensitive to this event. Resimulate the circuit. So, more than one event may have occurred. So, you take an event then you go to your data structure. Who cares about this event? So, you will say circuit A and circuit B care about this signal. So, then you wake up A and say look this node just now became 1. What do you think of your output? So, that guy says what is the current time? So, you say current time is 30 microsecond. So, that guy will say please make my output equal to this at 30 microsecond plus delta.  What is the current time? So, you say current time is 30 microsecond. So, he says make my output equal to this at 31 microsecond. Each resimulation will then result in a set of transactions. No output will be made at that time. These transactions will be entered into a time ordered queue. So, you retain a time ordered queue in which there is a request that at this time please do this at this time please do this at this time please do this. This is ordered according to time. You finish insert. So, these when you do resimulation the output will be recomputed and that output will not be updated immediately. That output will be inserted in this according to the time at different places in this queue. And when you have done that all then you will see what is the top entry in this. And then advance the time variable to that. And now again do this whole thing repeatedly till all events have been taken care of. So, this is how simulation actually proceed. I have very little time and madam Dathe is going to fill me because this is not the part that you are going to use. This is something which has to be always at the back of your head when you use simulation. However, now let us look at a particular kind of description which has only structural description. There is no behavioral description in that. So, in structural description what do we do? I am taking VHDL as an example now because now we are doing practical thing. Each component is described as a two part object. The first part is the external look. So, you look at each object from outside and from inside. So, when you look at it from outside what do you see? You see its pin diagram and you know what circuits to connect to its pin. That is called an entity. So, to take an example let us say entity d flip flop.  So, I will say port and then I will have a comma separated list of all the inputs all the outputs and that bit type. So, for example, I will say port d and clock followed by a colon and there are two properties which are to be specified. What kind of signal and what is its direction? So, I will say for example, d and clock are inputs and they are of the type bit and this whole construct can be repeated in a list separated by semicolon. So, for example, I might say semicolon and then q, q bar are out and bit. This describes the ports of this. Notice that I could have also said d in bit, clock in bit. I need not group all signals of the same direction. I can describe them individually or as a group. If I describe them as a group of signals then they will must be comma separated and this entire construct is separated by semicolon and the list and its properties are separated by colon. The whole thing is inside bracket and this whole thing ends with a semicolon. So, you have described the spin diagram in short and then you say end entity d l. Now, in the old VHDL there was a whole lot of dancing that you had to do. You had to convert this entity into a component and then you had to instantiate that component in order to use it in a circuit. Modern VHDL allows you to instantiate d flip flop directly or any entities directly. So, maybe I do not I am not sure, but in your lab perhaps you will use that side. So, now the entity is over. You must describe the look from inside. So, when you look at a component from inside you are describing how does it work. So, you say architecture give this architecture some name. So, say my first you could give any name. Now, you have to specify an architecture of which entity you are specifying. So, you say architecture my first of DFF is and now you can specify between begin and end the working of this part. Now, this part you can be either behavioral or it could be structural. So, if it is structural then you will instantiate component. So, you might say to give you an example u 1. So, u 1 is a component name. Now, you have to say what kind of component it is. So, modern this thing can instantiate either components or entities. The old one never allowed you to instantiate entities. So, in this one if you are using entity then you might say entity this is by the way optional DFF and then you say port map. Port map is equivalent to soldering a wire. So, the entity told you what is it spin diagram. So, it has a pin called D a pin called clock and so on. Now, you are connecting these pins to some signal which is equivalent to soldering a wire. So, you are soldering a particular wire to the D pin soldering a particular wire to the clock pin and so on that is called port map. So, you are simply saying port map and may be your circuit may have some interconnection. Let us take some example that this is D clock Q Q bar and let us say we are we have a divide by 2. So, we take connect Q bar to D and then you might have some other signal and then this might be your output and the clock could be generated from let us say an end of enable and external clock. So, now I will have this entity called a circuit big circuit. It is a it is enable external clock and D will be its port signal like before and this call call it x or something will be its output and now you will instantiate this AND gate and you will have to use this as some internal signal called A right. So, you will have to declare in this begin and end. So, for example you will say entity big circuit is port D clock enable in bit. You might directly say Q out bit and entity big circuit. So, you declare the now bigger circuit using that smaller piece. Assume that just like D flip flop you have described the AND gate also alright. So, then what you will say is architecture some name of big circuit is and then begin now first of all you must declare all the local variables. So, A is a local variable that is not known from the port and that is the only circuit in this particular one which is local alright. So, then you will say A notice that internal signals there is no direction do not have to give them as in or out. So, you say A is a signal of type bit. So, after begin you will say signal A bit. The Q bar was part of this it is a port signal. So, yeah internally of course, if you are taking it I am assuming that Q and Q bar are going output. So, then in that case you should give Q bar here. We are not doing any processing on Q bar right oh you are connecting it to D yeah alright and then you assign this signal A and let us say that this is called B. Then you must instantiate the AND gate. So, you say U 1 is of type AND the modern version of VHDL will require you to declare that you are directly instantiating an entity. So, you will say and U 1 entity AND and then port map and now you map the signals of this to this. So, you will say port map enable external clock and A then you will port map this. So, wherever the clock occurred you will put A and you will port map Q bar to B as well as D to B which will short Q bar to Q bar to D alright and then take the output. So, in short every internal wire will carry a signal you must declare the signal and the type it could be a bus it could be an 8 bit bus right. So, in that case you will declare it as an array, but otherwise signal there are some IEEE type signals etcetera do not have time to go through that, but this structural description essentially involve the following you first must have in your library all the entities that you are using. So, either you must have described it or it must come from a separate library. So, you must have all the entities that you have and then you must declare an architecture declare all the signal. So, here for example, A and B will have to be declared of type B. So, signal A and B will have to be declared as. No, no, no it is inside the architecture which will yeah yeah yeah all the declarations come before begin and then you instantiate all the components and then end. This is a purely structural description it simply says what is connected to what and how using what, but you might actually have mixed. For example, you might say this is the interconnect and then this signal you might have some signal here which you would say D is equal to A or X depending on some C. So, you say if C equal to 1 then D equal to X else D equal to A. So, that is behavioral the rest is structural. So, you can mix both kinds and then apply an input to this whole thing and test it out. Now, one last point before my time runs out is that the design description is not everything you have to then test the circuit that it is working like you do. So, that is called a test bench. So, you have a test bench in which the circuit you just designed the whole circuit that you designed is one component and this describes how you will test it. So, you will apply some inputs to it using sources and you will observe some outputs and compare them to some standard output and generally produce a result either an error if it does not agree etcetera. So, for example, if the timing is wrong then you will say over this period the to did not agree. This whole circuit is called a test bench. What is the remarkable thing about a test bench? It is also another circuit after all. So, why should we worry about test bench as a separate kind of thing? It just uses the circuit that you designed as a component and applies all sorts of test circuits to it, test signals to it and looks at its output and behaviorally sees if the outputs are equal to expected values or not. But, there is one remarkable property of this test bench. No, that is the function of it, but there is a particular remarkable property of a test bench. No, it has an entity. No, no, port map you will require, you you are placing all these components. So, port map you will require correct, its port list is empty. That means anything that you want is part of this big circuit. There are no essentially this bench has a circuit that I have designed and all the test devices and nothing is coming out of this bench. Anything that I want for testing it is all already inside. There are no external input or output to this circuit. So, that is the mark of a test bench. It has an empty port list. So, you will have entity test bench is port just closed without anything and entity test bench. So, a test bench is something which is self-sufficient. It has the circuit that you want to test and let us say that we have just designed an ATT file. So, the first description is completely behavioral right specifications have been given to us. So, it is a completely behavioral and I have a test bench which generates various instructions according to the timing of its bus and it gives various instructions and some test program needs to run on this ATT file right. So, it is a complicated test bench and this test bench will then run through, but the anything that I need for testing this ATT file is part of this circuit and including applying inputs and testing output. Therefore, this test bench is self-sufficient and port will be 0. Next when I go from fully behavioral to let us say now first block level decomposition. Now, all I can do is just plug out the old architecture and put in the new architecture and even this new architecture should have exactly the same output. If it does not that means I have fouled up somewhere and I can catch myself right at that point. If that works then I take out the ALU and replace the ALU by gate again plug in the whole thing again it should give me the same result and so on. This way I catch my errors as soon as they occur and do not let them propagate a long way. So, therefore, a test bench is a very useful circuit and almost any circuit that you design must be designed with a test bench to ensure that it is indeed its behavior is indeed what was specified to be the behavior. I think that is all the time that we have for right now. Madam, you will require only structural description from them. No, no. So, all I have done is what is under the bonnet of a simulator the idea of delta times and so on, but also entity architecture and so on and behave in instantiation of components. So, that I have done, but I have not done any processes and if then else and case and so on. So, the rest means the instantiation of components and declaration of signals I have done, but we have not had time to do behavior. Sir, just one question. Why we are not able to simulate transistor labor circuits and synthesize them using VHDL? Not VHDL is not capable of simulating and synthesizing transistor level circuits. So, that is because the model that is not actually correct. The point is what is the library that you are using. So, in case of VHDL the model for a it is considered useless to go down to a transistor level. It is assumed that your library will always have a digital circuit and which will then go down. However, this is wrong to say that you cannot synthesize transistor level. If you have model for a transistor as a switch, then you can synthesize down to a transistor. The only point is that unlike verilog the model for the transistor is not a part of the language, it is part of a library. So, if you have a library which describes the transistor there is no problem. But in verilog also we are able to simulate not synthesize. No, of course you synthesize synthesizer is not part of the language, but in a verilog system of course, meaning maybe you should show it should be sure we must show it to you that synthesis. There is no difference verilog and VHDL are only syntactically different. Synthesis means can it be downloaded to FPGA? Sure using verilog of course. Transistor level design. Of course there is no difference between VHDL these are two different it is like two programming languages, Fortran and C. So, both can be used for both. No, but the transistor level in one case is part of the language that is what I am saying. So, NMOS is a component understood by the language. In the other case there is no inbuilt component. Any component that you use has to come from a library and if you have a library then VHDL will also. So, books are saying that FPGA programming for transistor level is not possible. This has nothing to do with programming language, which FPGA gives you a transistor? Suppose sir I am designing a transistor level, suppose I am designing a NAND gate. So, are we talking of FPGA or are we talking of ASIC? No sir, I am designing a circuit NAND gate circuit for simulation purpose and I use verilog for design. Simulation part is quite easy and it can be done. Now, second part is, am I able to synthesize it and download to the FPGA? Again we are back to FPGA. If you are using FPGA then you can use VHDL, verilog, X system, verilog whatever you want. A transistor is not available to you. In an FPGA you have only LUTs and so on, those components available. The transistor is not visible to you. So, it is not a function of the programming language. It is a function of the architecture of the FPGA that a transistor is not available. So, if a language did allow you to synthesize right down to the transistor level, it will do you no good at all because you cannot address a single transistor in an FPGA. You cannot use a transistor in an FPGA. Because you wanted a single transistor, you cannot get that transistor in an FPGA. But presently we have those mixed type FPGAs or FPAA, field programmable analog arrays which include transistors also. Correct. So, that is not an FPGA, the C of gate design. Sure, but then you can use that using both VHDL and verilog. So, now we should be able to simulate a synthesized transistors. You will if you have a library which does that, then there is no problem. In general, synthesizing down to transistors is no use because nobody has that kind of design time in which will be synthesized down to this thing. In fact, the effort is going towards other modern design for example, even counters. In fact, some designs use microprocessors as a black box. The modern FPGAs for example, come with for example, the Xilin series comes with four FPGAs as components. So, the idea is that you stop designing as soon as you hit a component which is available in your library. You never ever have to go down to a single transistor. But it is not a property of the, it is not a property of the language. It is a, it is a property of the design style. The language verilog is very MOS specific. So, many MOS structures become part of the language itself. VHDL is a generic language and any technology that you wish must be brought in as, as, as a, as a library of component. So, for example, VHDL even refuses to look as a bit collection and will not convert it to an integer. It does not know which bit is most significant. It refuses to assign a most significant bit at least significant sense to a collection of bits. To hit a collection of bits is the collection of bits. Verilog makes many more assumptions. So, for example, it makes the assumption that the left most, left most bit is in fact the most significant bit. It allows you to assign from a, assign from different width buses, one to the other and so on. So, essentially verilog is a very loose language. Therefore, it is a very convenient language. You have to do very little. On the other hand, your chances of making mistakes are very high. VHDL is a very formal language. You have to do a lot of work, but on the other hand, you are sure. That is the difference. But otherwise, at heart, both are simulation languages which follow the thing that I described right in the beginning. When we write a VHDL code after functional simulation, we are going for the timing simulation. So, whatever the delay introduce in the timing simulation, what kind of delay it is? That comes, that is generally inertia and that comes from the library of part. So, essentially what happens is, first you want to see that the circuit that you are proposing works properly. At that time, you do not want to bother about delay. So, that is the zero delay model and then you will have the timing delay. So, there are various delay models. Then, there is the constant gate delay model in which you assume that every gate has the same delay. But it is not zero because there are some things which might be missed out if everybody has zero delay. For example, all glitches will vanish because they will have zero width. So, next you might want to do constant gate delay model in which every delay has a fixed gate, one gate delay or two gate delays. So, all delays are measured in individual multiples of a gate delay. Then, you have the timing model in which what happens is that suppose you are using a Zyling safety gate. It actually computes the delay of that component based on where it is laid out, how long a wire has been used and so on. And there is an idea of back plugging of those values. So, what happens is that you describe the circuit and then the timing delay simulator adds an after clause with the actual delay extracted from the circuit depending on the actual layer. And now, the simulation that you get is exact according to the time. And then there is a pre-layout and post-layout timing simulation. So, in the pre-layout timing simulation, the wiring delays are not taken into account. In the post-layout, not only are the component delays taken into account, but the wiring because now you know the wire length. So, the wiring delays are also taken into account. So, is it possible to minimize that delay that we are getting in the timing simulation? You can. There are various synthesis switches that you have. There are switches which will minimize complexity. There are switches which will minimize delay. So, you have to trade off one against the other. For example, suppose you want to minimize the time, then it might allocate close by gates and certain gates may become unreachable because of that. So, you may waste a lot of hardware resource, but you will get a very fast circuit. On the other end, you may want to minimize complexity. In that case, it will use every resource even though it has to use a tortuous wiring to reach that gate so that all your complexity is minimized. In that case, you will get a very large circuit, but it will be slow. So, these things are there given as switches at the time of synthesis. If you wish, you can have the finished program in more than a week. Yeah. Yeah. So, we have we have both submitted. If you are interested in a comparison, you can do that. But which is actually a small component and that is why I did only the structural part.


You are watching the International Daily Roundup with People's Dispatch where we bring you some of the major news developments from across the globe. To today's headlines, activists warn of arms race as the US, UK and Australia form military alliance. West African regional bloc imposes sanctions on Guinea's military junta. Enbridge Pipeline Company fined over environmental violations in the US and in our video section. We take a look at Brazil's agribusiness sector amid record levels of deforestation in the Amazon. Anti-imperialism activists have denounced the new military alliance between Australia, the US and the UK, the trilateral pact called AUKUS was announced on September 15th. The US and the UK will supply Australia with at least eight nuclear-powered submarines. Leaders have said that the submarines will not have nuclear warheads. Australia announced on Thursday that more US troops will be rotated through the country. The Allies will reportedly also cooperate on missile development and explosive ordnance. The US has already approved a $350 million missile sale to Australia. AUKUS has been viewed as part of President Biden's increasingly provocative stance towards China. China has warned that the pact is extremely irresponsible and could lead to a regional arms race. It has also accused the three countries of having a cold war mentality and an ideological prejudice. AUKUS has been announced just before a meeting of the Quadrilateral Security Dialogue. It includes Japan, India, the US and Australia. The group was revived in 2017 to counter the so-called Chinese threat to freedom of navigation in the South China Sea. The economic community of West African states has imposed sanctions on Guinea's military junta. The regional bloc has decided to freeze the financial assets of military leaders and their relatives and impose travel bans. It has also demanded that ousted President Alpha Konde be released and elections be held within six months. The junta is currently holding talks with political parties, traditional leaders and mining companies. Guinea is the world's second largest producer of bauxite, amounting to one-fifth of the global supply. The price of aluminium which uses bauxite rose to a 13-year high following the coup. The result of the ongoing talks with mining companies, which include Russian and Chinese firms, remains critical. Meanwhile, the US-Africa Command, the AFRICOM, has played a crucial role in the coup, which has shown the soldiers escorting the American Kireen, where it's back to the US embassy after the coup. The Special Forces members had reportedly been in Guinea since July. They were training a unit led by now-cou-leader Colonel Mamadi Numbua. The Canadian Inbridge Pipeline Company has been fined $3.3 million by US regulators. The company breached and aquified during the construction of its Line 3 pipeline in Minnesota. The breach led to the release of over 24 million gallons of groundwater. The Minnesota Department of Natural Resources has referred the case to the Clearwater County Attorney. Inbridge will now face criminal prosecution for violating state environmental laws. The groundwater was released just as 86% of the state is experiencing at least moderate drought. Clearwater County is located in northern Minnesota, almost all of which is under extreme drought. The Line 3 pipeline has already caused extensive environmental damage in surrounding areas. These include two major oil spills, including the one in 1991, $1.7 million. Barrels of oil flowed into the prairie river, making it the biggest inland spill in the US history. The Minnesota Pollution Control Agency has said that Enbridge has had at least 28 spills of drilling fluid in 59 days. This amounts to approximately 13,000 gallons. And for a final story, we look at the agri-business sector in Brazil deforestation in the Amazon crossed 10,000 square kilometers between July 2020 and August 2021. President Jair Bolsonaro and his allies are pushing laws that will open public and protected lands to agri-business and mining. Here is a video featured by Brazil de Fatou on this issue. Against a backdrop of anti-environmental policies and non-republican movements, agri-business seems divided, supporting Bolsonaro while heard advances or pressure him to adopt a more responsible attitude towards the environment. These are the internal differences opposing the two large agri-business blocks of the country against each other. On the one hand, there are the meat and grain producers led by the Brazilian Association of Side Producers, also known as Aprosoja. They're among the funders of the anti-democratic and pro-government acts of September 7th. On the other hand, there are the transnational that export commodities. They're linked to the Brazilian Agri-business Association, also known as ABAC, which even published a manifesto defending democracy. Aprosoja has been advocating agendas that deepen deforestation in the Amazon. But recently, they spoke up for the timeframe argument and for the armament of rural people, which has even become a slogan. There are topics that ABAG avoids. ABAG is an important representative of transnational and stateless financial capital. Aprosoja ABAG will align with the international market speech on sustainability, although we know that agri-business can be sustainable under no circumstances. But the narrative created by ABAC to connect agriculture with sustainability has had later effect on Minister Teresa Cristina and the deputies of the Agricultural Parliamentary Front. What the Agricultural Parliamentary Front demonstrates is unit in action. It shows that regardless of the difference of economic-corporate interests, the joint project is the same. They continue regularization of illegal occupation in the Amazon, the flexibility of how lands can be taken from indigenous areas through mining initiatives and hydric activities and the limits to demarcation of indigenous lands. Another factor is the rise of a discourse challenging the measures to tackle the climate crisis. This discourse was promoted in the US by Donald Trump. In Brazil, it was reverberated by Bolsonaro as soon as he was elected president. A proof of it is the restructuring of the vacant Democratic Association of Ruralists, which emerged in 1985 to curb the advance of popular rural movements such as the Landless Workers Movement.


I love what Mr. Spiekman has done with 5.0. I did train a 5.0. My instructor became a just Spiekman school for a few years. So we had a, I got to run through his original curriculum about once, like all the way through once. He changes a lot. He adds a lot of ground stuff in there, a lot of ground techniques, and he's changed a lot of the technique sequences up. But even though the sequences might become considerably different, the principles are still there. It's still Kempel because it's still following the same grammar. Different words or no, same words, you're just using different sentences. So it's a different approach and it's very competition and fight heavy, which I like a lot too, because it's a little bit more pressure tested than your typical school. 5.0 is interesting because I like it a lot because what just Spiekman did was, and I do believe, and there's gonna be mixed opinion, I believe where 5.0 went is where Ed Parker would have taken it. Ed Parker was always changing his system. There's always additions, always rearranging, always adapting. And I do believe 5.0 is ultimately, if he was still around today, where he would have wanted it to go, it, because it updates it. It updates a lot of the ideas. A lot of the original Kempel techniques, excuse me, were based off of step through punch. You don't see it that much these days. It might have been more common, back in the 50s, but jab crosses are a lot more common in a real fight. So just Spiekman altered a lot of techniques to be based off jab crosses. But what changes about that? Well, now, if you do a technique and Ed Parker technique that started off, okay, guys doing a step through with the right punch, okay, well, that means his right leg's gonna be forward. Well, if you're doing a technique now, that same technique based off of jab cross, well, they're not stepping forward anymore. You're in a completely different position. So what he did was he altered the technique to modify that. Sometimes it still worked, sometimes you had to change it. We have one technique, shield and mace.  Well, the Kempo 5.0 version, you're on the inside. You're still, it was in their centerline. So it's the same technique, but now it's modified to work on the inside of the body, which I think is amazing because now it's like, okay, that just opened my mind is the same thing, same ideas, but you can apply it to different situations, hot or cold side of the body. And he did a lot of adaptions like that. He grouped things together because with Kempo, you have what's called the family related techniques. You know, there are certain techniques where they are all built off the same concept. Sleeper, Thundering Hammers and Dance of Death are kind of related in one faction is that both all three techniques started through doing a block, but your rear hand is down low. Okay, well, one technique shoots a rich hand to the groin. Next technique shoots a forearm to the body. Next technique does that brachial stun. Well, guess what? It's the same technique, but it's done low, middle, high zones. So that's a family grouping. And a lot of techniques are a family group like that. With Jeff Spiekman, he did that. And what he did is he taught a lot of them together because a lot of the Parker curriculums are spread apart. You'll learn one in this belt level, then you'll learn one in this belt level later.  A lot of Spiekman curriculum, at least when I went through it, he grouped them together. So you would learn them in sequential order. And he has one sequence where they come in for a tackle. Okay, well, you're able to catch them before they get their arms around you.  The next technique is, well, whether they actually get you into the clinch. The next technique is, okay, now they've gotten you to the ground and you're gonna do this one sweep. And now they've gotten you to the ground, you're gonna do another sweep. So he kept building on that. So I liked that a lot. I thought that was a very logical evolution for the art. All the same principles, it's still Kempo, but it's now applied in different sequences, modified for more modern fighting. And there's a heavy emphasis on the ground fighting. So when you do Kempo 50 fighting, it's not usually a point. It is continuous, fairly hard contact. Sometimes it's hard, full contact sparring and it goes to the ground. Like the fighters stop and do it when one submits. And there are tournaments that will be point-based, but the points basically are just either tallyed up as you go along. So it won't be like point stop. It'll be, okay, well, this person scored 40 points, this person scored 30 points, however that works. But no, I think Kempo 50 is a wonderful system. And it's funny because I've got a really good friend. He's one of our viewers too. He is training in California right now at a 50 school. I trained in 50, 13 years ago, 14 years ago. And it's so different now. Like we will talk about techniques and what he's learning now is completely different from what I learned. And he jokes, it's sometimes they call it 5.1. But just speaking and doing the same thing, he's always adapting, he's always updating it. And I think that is the natural path of Kempo. Kempo should not be static. A lot of arts shouldn't be static. And Ed Parker even said to his son one day, he goes, if 10 years from now, people are training Kempo the same way, they've not done my art justice. It's always about growth and adaptation.


Welcome to All Hands Update, this is your week in Navy History. On November 15, 1863, Fort Moultrie bombarded Union Army positions at Cummings Point, South Carolina causing the Union Monitor Lehigh to run aground. Five Lehigh sailors were awarded the Medal of Honor for their heroic actions while freeing the ship under heavy fire. November 16, 1963, President John F. Kennedy boarded USS Observation Island during his visit to Cape Canaveral, Florida. While aboard Observation Island, President Kennedy witnessed USS Andrew Johnson launch a Polaris A2 missile. On November 19, 1969, Apollo 12 Navy astronauts Commander Charles Conrad Jr. and Commander Alan L. Bean became the third and fourth men to walk on the moon. Commander Richard F. Gordon Jr. remained in lunar orbit. To learn more about the Navy's history, visit the Naval History and Heritage Command website.


Everybody forced here ripping three boxes for Amy B. Amy has three twenty twenty two gold standard football first off the line boxes here Here we go. Amy. Good luck. All right. God Leonard for net to ninety nine or sorry Leonard Williams in ninety nine And first off the line green DK Metcalf seven of eleven You got Zeke Gold Rush Jersey to two ninety nine Cowboys Calvin Austin the third rookie newly minted Jersey to three ninety nine Rookie Otto Khalil Shakir forty eight of forty nine Tony Dorsett Goldfingers Otto three out of ten Legendary running back Tony Dorsett And new or Shay RPA first off the line exclusive here is a Desmond Ritter These are all number to seventy nine. This one's twenty of seventy nine. Nice Ritter. All right, Damien Harris number two seventy five and Green first off the line Kareem Hunt ten of eleven Darnell Mooney Jersey card to two ninety nine gold gear Terry McLauren mother-load five-way rally to two ninety nine Charles Woodson Jersey card to one ninety nine Hall of Gold 400 Panini points and new gore shei Sam Howell RPA New vote or shei number forty two of seventy nine last one. Thanks again for the order Amy. You also have three Hobbybox is getting ships sealed to you as well looks like so this may or may not be the same package All right, Matt Corral number to forty nine Rookie there green Aidan Hutchinson seven of eleven First off the line parallel DJ more gold gear number to two ninety nine Jersey card Dallas Goddard white gold Jersey card to two ninety nine Got a mother-load five-way Jersey Josh Allen to two ninety nine God gold jacket auto Bobby Bell to ninety nine and new lover shei George Pickens on the back Great card there number 67 of seventy nine George Pickens new over shei RPA first off the line Thanks again Amy. Congrats on this hit. We'll get the seal boxes in these all right out to you


Don't let the narcissists do this to you. Don't let them control you Don't let them influence or direct your behavior at the course of events Don't let them deprive you of your freedom. You were born to be free You were born to act or do things as you wish Not to be under the control of another become a free thinker Begin to reject the traditional accepted opinions And start to think for yourself Truth should only be formed on the basis of logic reason and your sensory experiences Rather than authority tradition or revelation begin to think for yourself Question everything Think freely and independently Then you will no longer be under their control Then you will no longer be confined to the prison that the narcissist has created for you Then you will be free. Thank you for watching. I hope this video is in it with you Please like comment share and subscribe Click the bell icon receive notifications for my future videos If you would like to donate My PayPal link is in the video description Coaching inquiries you can email me at nazifevercoaching at juma.com Thank you for watching and I'll talk to you soon


We demystify what goes on behind the therapy room door. Join us on this voyage of discovery and co-creative conversations. This is The Therapy Show, behind closed doors podcast, with Bob Cook and Jackie Jones. Welcome to The Therapy Show behind closed doors with myself, Jackie Jones and the wonderful Bob Cook. I'm really looking forward to this episode, Bob. I don't think I know a lot about this, but with episode 38 and what we're going to be looking at is dream analysis, imagination and fantasy in the therapy room. What a wonderful podcast we've got coming up. I know, I'm really excited about this. I have a lot of clients that have asked me, does my dream mean anything? I keep having this dream, is it significant? And apart from having a book somewhere called Dream Dictionary, I have no idea. So I'm laughing because I can tell you how to answer that question. But tell me then. Just tell them yes. Yes, because dreams have been going on for centuries. It's nothing new. I mean, Freud wrote an article, Interpretation of Dreams, I think in 1898, published in a book by him in 1900. But we can go back centuries before that, all the way back to Socrates, and we can trace dreams and how people looked at dreams through different civilizations and different times. We can go right back to, as I said, to Socrates and we can look at, they believed in dreams in terms of often divine intervention as we work through some cultures believed in dreams in supernatural ways. We go right up. But let's start at Freud because probably that's where we are in the European culture. Now, he really, in his that book, or that article, Interpretation of Dreams, believed the dreams really about fulfillment of wishes, in other words, our own fulfillment of our inner desires. Dreams were in the area of the unconscious. And Freud termed the name for dreams, or a wonderful description. They are the royal road to your unconscious. Young, when he was talking, who was also a disciple in terms of Freud's, in terms of psychoanalysis and dreams, talked about this as the royal road to the soul. Either way, with dreams sit in the world of the unconscious of the individual. So when your client states to you, I have dreams, whether they've been nightmares, daydreams, repetitive dreams, or in fact, even if they say, well, I don't remember my dreams, but I know, you know, I've been told that everybody dreams, for example, you can say, yeah, this is all about the, your unconscious. Freud said the fulfillment of inner desires that haven't been realized, or conflicts, trauma, etc. In fact, Freud, just before he died, talked about dreams also being about expression of trauma that hasn't been released or worked through. So either way, dreams are about the internal world of the individual. Either way, we look at it. So with psychotropic clients, particularly, we're always looking for how trauma, dreams, ideas, myths, whichever way you look at it, are actually repressed, and often in the world of the unconscious and get acted out unconsciously in the external world. So if we can help our clients look at what's happening in the unconscious world that's not been actually externalized, dreams are a great tool for this to analyze them, to interpret them, to look at what might have been desired, but actually is repressed, for example. Yeah, I find it fascinating because I fall into the category, I don't remember my dreams, the majority of the time, on the very rare occasion where I do remember it, that obscure, I find it hard to relate it to anything. Well, you know, dream interpretation, is that up for interpretation? Yeah, I mean, when you say don't remember anything, I think the most accessible dreams are often when people are scared, they frighten themselves, often in the world of nightmares. And then, of course, you've got daydreams. Yes. Not just, you know, you'll talk about dreams in the unconscious, I mean daydreams, we all daydream, don't we? Yeah. And they're in the world of conscious and unconscious. But if a client comes to me for it, I can't think of any body that's ever said anything like this, so I'm not referring to a particular client. But if a client says, I was on a train, and I went in this carriage, and there was a wolf sitting there, and a woman in a black cloak with a sheep, what does that mean? What do I say to that? Am I supposed to be able to interpret that dream? Well, I think whether it's Freud, whether it's young, whether it's some of the later psychotherapists, they all talk about the interpretation will be an unconscious world of the clients. Now, in the way you've just talked about, let's take that example that we probably just tell you on top of your head. Definitely. Yeah. I'm thinking of some tiered therapists called the Gouldings in Analyzing Dreams. I got taught not by them personally, but by some people being on their workshops about dreams. They would see the dream or every aspect of the dream as part of the self. Okay. So the wolf would be part of the self. The tunnel would be part of the self. The train would be part of the self. The television, if that dream was in your dream, would be part of the self. So everything you dreamt, including the enumerated objects, would be part of the self. That's fascinating, Bob. Right. So if you were coming from their perspective, which really sits in the Gestalt world, more than the TA world, that's Fitz Pearls, etc. That view is about, as I've just said it, that everything you dream is part of yourself. Different conflicts, different traumatic parts, different parts of yourself which haven't had expression of desire, etc. etc. So a Gestalt psychotherapist or the TA that Gestalt, if you want to, would get the client or ask the client to talk to the different parts of themselves that have been represented in the dream. Okay.   So then we'd get all those parts of the dream. And as I said, you'd roleplay each part of them and talk to each part of them. I just see what comes up. Yeah, so let's make a, I haven't, I haven't remembered any trauma dreams recently to just flesh out, but I mean, you know, I could think of one where, I don't know, two or three months ago, where I was sitting in the front room and my Steph came in and he was my wife and then my sister from childhood came in the room and we were watching television and my father came in and then my mother and father started shouting each other and the television grew louder, everything got more blacker and then I woke up.  Now, the way I used to do that was I had cushions to represent different parts of the self and the mother would talk to the father, the television would then report back what they're thinking and you'd have the dialogues between the different parts of the self and from that, from that you would perhaps see where it goes and perhaps what the hope would be that you would uncover the conflicts between the different parts of the self or at least move to perhaps some interpretation of what was happening between the conflicts of the different parts of the self. That's fascinating. So what if somebody was replaying a past trauma in a dream? Is that the same thing? Would you, is that separate parts of the self even if it's replaying a past event? Yeah, in fact, yes, definitely in the way I'm just talking about. Okay, interestingly enough, I was just reading an article the other day right up to date 2021 and it was talking about CBT and the use of CBT but then it was talking about, and I can't remember the acronyms anyway, of therapy with clients have been traumatized by analyzing their dreams with the objective to help the person externalize the trauma that was coming out in their dreams and the way they did that was to get the person to go over the dream, go over the dream, go over the dream, go over the dream, slow down the dream, talk about the content of the dream and help flesh out the trauma that is beneath the memories of the dream, memories in the dream. And I wish I'd read the end of the article but it was all about, and I wish I got the acronyms to it, this way of repeating the specificity of the dream or the content of the dream to get to the layers of the trauma. So for example, nightmares are all about trauma. Yeah, yeah. Or the expression of trauma in some way. We all know about, we can wake ourselves up often because we're scared of what we're actually feeling in the dream and that usually is an attempt to express trauma, for example. All this is in the world of the unconscious though. As I said, Freud just when we died talked about a move from the idea of dreams simply being about the performance of desires that hadn't been realized to the expression of trauma, the attempt to express trauma. Yeah. And into the way we are in 2021, I was interested in the article that we as therapists would help the client go through the content of the dream many, many, many times with the attempt to get to the trauma which is underneath the content of the dream. So are you saying then that they don't know what the trauma is? Often what comes out in dreams is symbolism. Okay. Symbols. Okay. Just like you brought in, of the topic you had a wolf. Yeah. Now I'm not going to therapy online with you, but if we started to look at a wolf meant for you and what would be the symbol of that and perhaps to even act like a wolf or we could think of many different ways imaginatively to play out what a wolf may or may not meant for you underneath that or we could even play out the part of you that wasn't the wolf would probably get to what might be some trauma somewhere and what that all means in a symbolic way. Okay. What if it's specifically replaying an actual event? Well, I think that's what happens in dreams. We can have high stimulus. I mean, I don't watch really horrific gory films. Me neither. At 9 or 10 o'clock just before I go to bed. I don't watch them full stop, I don't like these quite often the high stimulus of the what's going on in the environment or the television or the radio just before going to bed can often stimulate terror in us or scare in us or trigger out something in our history which hasn't been resolved, which then comes out in a dream. Yeah. But often you will talk about people trying to resolve things from something they've just watched and it comes out in the dream. Yeah, because, you know, on the very very occasion where I have had a dream or a nightmare and I've woken up partway through it, there's a physiological thing going on. I feel scared if I've had a scary dream and I wake up, you know, kind of halfway through it. That's right. I mean, when I remember going to workshop by a Freudian who taught me how to analyze dreams from his perspective and what he did with his clients who say wanted to analyze a dream, he'd say, okay, so what was happening in your dream? And so they go through the dream and then they said, what happened? How did it end? And the person says, well, I just woke up or I woke up scared or whatever.  The client then imagines what might have been going on when the dream stopped. Yeah. And then then to talk about, or that would be the encouragement about analyzing the dream from that perspective, you know, because the idea is that you wake yourself up unconsciously at the time when perhaps the trauma might have been resolved, or the conflicts might have been dealt with. But you wake yourself up because of the unresolved conflict.  Yeah. And I would imagine that would be less scary for the client if they're conscious and carrying the dream on, if that makes sense. Because I think that's one of the things with nightmares is they just happen. It's not like we have any control over them on a conscious level. That's right. But if you saw the nightmares as trauma, yeah, some is history, rather than what I've just said, you might might scare yourself. You watch silent witness and somebody's been open and got bodies or whatever it is. So you go to bed and then you might scare yourself and you, that's an attempt to that's an attempt to resolve what you've just been stimulated by. I'm not talking about that. Yeah. It's been triggered off in your history at a traumatic level. Then I think, and this is what I was talking about earlier on, that if you get your client to repeat or remember what they remembered many, many times, you may get to not interpretations, but what is underneath the memory so you can get to the trauma. Yeah. Yeah.  If there's some unresolved trauma and a dream is a way of bringing it to our attention. That's right. It's a pretty clever technique to be using.  Yeah. And he also talked about dreams being a way of dealing with what he called the collective unconscious. So, you know, I think the brain is particularly sophisticated, particularly clever if you want to use those words. And it's a way and dreams are a way of dealing with unresolved conflicts, I think, unfulfilled wishes, traumas that haven't been dealt with. And as Jung says, rebalance, I think, and dealing with the internal and external worlds, which have got out of sync. Yeah. And Gestalt therapy, you know, I very much like the idea of taking this further in the unconscious, that there are different parts of ourselves, which are a conflict, get played out in our dreams in an attempt to resolve the conflict. So if we can get the different parts of ourselves to be played out externally through roleplay, and the therapists can see those dialogues, they can help bring some resolution to the conflicted parts, which the dreams had been attempted to do. Yeah. It's fascinating. But often we wake ourselves up before we go that extra step. Yeah. So the therapist can help us do that and help us sort out those unconscious processes so that our external world is more peaceful. Yeah. And of course, on another level, let's just talk about the dreams we all have our daydreams often, desires for how we're going to be in the future. For example, all of you, let's ask yourself here, you could ask myself, we could ask any of the therapist's listens. What was the unconscious motivation for us to be psychotherapists? What made us go into the world of psychotherapy? What made us specialise with particular clients? So for example, why, you know, I was a teacher in electorate politics before I trained in psychotherapy. Why did I, what was the motivation unconsciously for me, not only to stay in the world of psychotherapy, but to stay in the world of psychotherapy for 38 years, helping people their internal conflicts, their misery, their worries, their depressions, their hopes, their desires. And also, what was the motivation unconsciously from people to specialise with people who were dissociated, fragmented, cut off, disowned? What was the motivation for me to be doing this for all these years? And it's the same for every therapist, same for you. Why, what was the motivation? And I think every therapist probably dreams. And I mean, I certainly did, certainly did when I talked about my career. And if I really start to look at those dreams and those myths and those thoughts, I can see probably that one of my unconscious motivations was I wanted to help people or to find themselves in the ways that I did find myself and to look for the lost parts of themselves. Because my history was very much in that whole area about being lost and someone being lost and never found. If you look at my career, I'm playing out my unconscious world in a way which is not only cathartic to me, but provides me internally and externally with a different outcome. So I think those were all dreams. They're the stories we tell ourselves. Those are myths that we tell ourselves. I might even use those myths in the service of our clients. Yeah. The daydreaming and things like that, I can kind of understand how that works. Because, yeah, it's one of the big questions that I ask clients a lot of the time. What's your why? Why now? Why? I suppose we all have our own story that gets us to where we are. Yeah. And so do clients. I couldn't tell you how many of clients I've seen over 38 years, but I can tell you that for every client I've sat down with, I attempt to think about and dream about and visualise about what their story is and help them to come to their own understanding of their own story. Yeah. Now it's not only helped, but also hindered them in getting to where they wanted to do today. So I have spent my life thinking about other people's stories, dreaming about other people's stories, thinking about the myths of their own stories, helping them get to their unique stories. Often by myths, you know, wouldn't be my myths, everybody has their own story, their own unique story, their own myths about how they came into the world, what it all means for themselves. I've got my own myth, if you like, about how I move from being where I was to where I am today and the in-between bit. Yeah. It is fascinating. And yeah, I was thinking like manifestation and things like that, do you know what I mean? Using our imagination to the good of us. I can remember, I think it's an NLP technique that I used with my younger son when he was a lot younger. He was having recurring nightmares. So I got him to really focus in on the characters in the dream and to change the way that it looked. You know, was he in the dream or was he observing it? Where was he looking at it? What colours were in there? And to get him to imagine like a television screen where he was turning up the brightness and adjusting it and making it less scary. So that kind of thing fascinates me on how our brain can process all of that stuff. Well, I mean, the use of fantasy and create particularly, isn't that what they're best do every day of their lives with clients? I suppose when you put it that way, yeah. I think for me, the whole thing about dream interpretation, I don't know. It doesn't sit well with me because I can only interpret it through my own understanding. Yeah. Does that make sense? So I'd always be very dubious about whether I've got the right meaning from what I'm being told. Yes. And there's two ways of looking at this. If we, if you use the Gestalt way of analysing dreams and get them to well play different parts of themselves and the different conflicts or traumas or whichever way you want to call this, then you aren't making any interpretations. You're really following the dialogue and helping them look at the different conflicts of yourself, which you'll do every day of your life in couples therapy. Yes. Yeah. Yeah. For example. So it's no different. You're dealing with the internal cutoff parts of the self, which come out in dreams. And you just help the person get in role play through role playing and what I'm talking about. The dialogues, the traumas that have been happening in the past. So it's no different. But if you go back to Freudian interpretations then, and if you go a dream dictionaries when they talk about different terms, then it's a bit different because you're doing what psychoanalysts did a hundred years ago, which was forced interpretations onto their clients. Now, relational psychotherapy is a million miles away from that. Good, because I struggle with all this stuff. I'm not talking about that. Good. Yeah. Talking about that's why I like Gestalt psychotherapy in the way I was just talking about. But relational dream analysis is when you analyse the dreams together. Yes. Yeah. Through mutual dialogue. Yes. So that's different again. Yeah.  And if you see a rabbit and all, I don't understand that. That comes from psychoanalysis a hundred years ago where the analyst was the expert. Yeah. That doesn't fit well with me. The other stuff, you know, exploring the dream and playing the different parts and because I suppose the client has given you the information, if they're talking about the dream or what they can remember, then it is the reality of that dream as opposed to me putting my... Yeah. Well, you were trained in relational psychotherapy from a TA framework. So where it's a very completely different orientation of psychoanalysis. I mean, they're two different worlds. So I'm not surprised that you're thinking of dream analysis in terms of a humanistic relational perspective rather than a one-up, one-down expert perspective. I do find it interesting, which is why I have that book. Because clients have specifically asked me, what does it mean if I've got this in a dream? And I will say, I have a book. I can have a look, but I don't understand it. I've got a book about the stars, Libran, Scorpio, San Geterius. So we can but I'm not talking about that. That's interesting. Psychoanalysis is different. That's very different. I prefer the relational humanistic. Yes. Yeah. Analyzing dreams, if you want to put it that way. Yeah. Yeah. I think I'd rather have dream dialogue than the dream analysis. But it is an exploration of the dream in the conscious way in a therapy room. It is. But if I just move back to fantasies for a moment, which is when I said we all think of fantasies every day of our lives, it depends on how you see the outcome of psychotherapy. If you think psychotherapy is about helping the person develop their own story, look at the story of how it is today and how it affects them and help them rewrite a different script or a different story so they can get a different outcome today, then you're not far away from fantasy therapy, are you? Because you're helping them develop their stories, their scripts through fantasy. Because it has to be fantasy. What else can it be? Yeah. Because it's not a reality yet. It's their own unique story. Yeah. And what you're attempting to do is look at how that script, their own story of how they see that world, hasn't helped them today. So to help them develop a new script or a new way of being so they have a more healthier outcome today, one of the best tools is through helping them develop what fantasies, positive fantasies, that they can desire or even just think about barely for once in their lives, which might be the creation of a new script. Yeah. Yes. Yeah. And the true potential and how it will be moving forward. Yeah. Yeah. Often through visualisations, which is fantasy. Yeah. Yeah. Often through creative stories, which is often fantasy. Yeah. And again, role-playing can play quite a big part in that.  The utilisation of imagination and fantasy, positive, can often be the development of a new exciting script, which gives them a potential that clients may never have dreamed of. Well, maybe I need to start doing this in the therapy room, Bob. I think you probably do it every day. Yeah. I probably do with the way that you've explored it and explained it now. Yeah.  Because you have to explore all those to enable the person to actually capture the possibility of a new world for them. Yeah. So I think I would be astonished if you didn't do that every day in your life. Yeah. However you wanted to to term that in your own way of looking at that. But I think without doing that, the person will get stuck in their own script because they won't have the imagination, fantasies, potential to actually look at a new way of being. Now, dream analysis, by helping them look at their unconscious in a relational way, and the different parts of themselves which get played out externally, you've got a fantastic, well, I think the unconscious is a fantastic, fantastic, wonderful metaphor, if you want to even look at that, then about reality, which holds a huge amount of thoughts, memories, and repressed traumas. And if we can get hold of looking at that through dreams or fantasies, that's wonderful, because then they can change their external reality. Yeah. Yeah. And that's what it's all about, isn't it really? Yeah, but anthropists need to help the person do that. Yeah. Because they can't do it themselves because they're stuck in it.  Yeah, it is. It's been caught in that loop, and it's not, it's not nice. You need somebody from the outside, from the outside, it's like a bio loop, isn't it, from the outside to actually help the person understand, whether by myth, metaphor, not so much interpretation, because I'm with you on that, to, is that going through the sort of layers of an onion to get to what the trauma and the conflicts are about, and how they can change that in their external world? Yeah. I think dreams, fantasies, imagination, they're all the tools of the therapist, and if they don't use them, whoa, the client's therapy takes a lot, lot longer. We're at music therapy, we only touch music therapy. If you put some evocative music, so you'd be, your client's come in the room, and it's playing, I don't know, just an evocative of London or whether it be the latest, whatever music really, that in itself would trigger off fantasies, trigger off many different parts of the unconscious. And without the therapist using these, these tools, I think they're very limited, you know, in the process. Yeah. Yeah. Have you ever used music in a therapy room, Bob? Yeah, no, I, you know, well, I probably don't, but you do, I think you do. As a therapist, my main aim is always to go to the unconscious, which is called the younger self or the child eager state and transaction analysis. Now to get there, to help the person move away from their adult self to their younger self or unconscious self, whichever language you want to use, you need to help them do that. And the best ways to do that, in my opinion, is through creativity and imagination. And therefore, I like art therapy, music therapy, play therapy, role therapy, any of those creative parts, which help the person go to a different part of their psyche, hopefully their younger part, the unconscious part, where the trauma and the conflict lies, because it doesn't lie in the adult eager state. No, no. It doesn't really lie in the parent eager state that you might have psychotic disturbed parents, which haven't posed things onto the pen. But you need to get to the child, need to get the unconscious part, the younger part of the self. I think creative methods like we're talking about here, which help us get to the unconscious or the younger part, is something which I have been using these techniques and tools and ways for the last 38 years. All of them. All of them. Art therapy, particularly. Any of them, which will get the person to their younger part of the self, where the trauma is. The trauma is never in the adult. No, no, no. Otherwise, she gets past timing. Yes. Not really in the parent. Well, the trauma might be in the disturbed parent, but you need to get to the child or the younger part of the self first, to where the trauma is before you get to the parent. But you certainly don't need to, certainly not going to stay in the adult. So you have to use, I believe, fantasy, imagination, creative expression to get to the child, which is often so locked up in repression, that these ways we're talking about now are the keys to unlock the spirit. Yeah, I do. I do like it. And I do get what you're saying. You know, I suppose one of the main creative things that I use in the therapy room, I would love to do art therapy, by the way. I've not done that, but I would love to do that. Is metaphors and stories and visualisation, you know, ways of putting their story into something they can visualise? Like jars on a supermarket shelf with different memories in, or that sort of story. The best way to do contracting is through art therapy. Get them to draw what they want to change. Then get them to draw how they're going to stop themselves making their change, because they haven't made the change already they wanted to be in therapy. And then get them to draw what they need to do to get the desire what they want, what's going to stop them getting what they want, and thirdly what they need to do. But do it all through drawings. See, I think for a lot of clients that would be a challenge, because straight away, as adults, we're really judgmental and critical of, you know, and having that blank piece of paper to do something on it. So wouldn't it be wonderful then to experience the therapist who wasn't critical, wasn't judgmental, all the things you're talking about, gave them the permission to just express themselves in any way they wanted. And if they find it really hard, then they can write it. Yeah. And it is a safe space in the therapy room to be creative, to do whatever it is that you want. So but my instant reaction when you were talking about art therapy then was, yeah, I'm straight away the majority of them would say, I can't draw, I can't, I can't do that. I think if they experience a different type of parent, a different type of permissions, and they've got a good relationship with the therapist, they may attempt to just express themselves with the knowledge that it's not about perfect drawing or perfect this that the other, they can just put something down on the page. Now that's art therapy. Yeah. I could spend all day coloring in a therapy session, Bob. That would be my, I would love that. But the most important thing would be then to go on to the saboteur and what stops them achieving that goal, again by drawing that process. Now it's not about pictures, it's about expression of the unconscious. Yes. And know exactly what you're saying, because we have a sort of parent-oriented society about perfect pictures and everything else. My experience is that if they get that, people get the chance to have a therapist that is given them permission to just express whatever comes up. Yeah. They will go with that. Yeah. And that is the wonderful part of the child or being a child is that there's no judgment there, they're not critical, they just do it. So to reconnect with that part of yourself in a therapy room, through art therapy, using imagination and creativity would be amazing. Yeah. And if you want to go a step further, but this might be a bit of a stretch for you, given what you've just said, ask them to draw with a non-dominant hand. Yeah. So I'm right-handed. So that would mean encourage me to draw with my left hand. And why that it would be so evocative is that it would take you back to the early times in your life when you were struggling to draw for the first time in any sense of expression.  Again, I love that, Bob. I know somebody that does do art therapy and that's one of the things that they do is they draw with their non-dominant hand. They are an artist, but in the therapy with clients, they use the non-dominant hand so that there isn't any, I don't know, comparisons. Yeah.  I mean, I was talking about contracts a moment ago, but there's so many different directions to go. And it's the same with all these mediums that we're talking about here. They are to enable the client to visit their unconscious or their younger self and then to help the therapist look at the conflicts, the trauma, the wishes that haven't been fulfilled, et cetera, et cetera. Bob, this episode, I've loved this episode. We need to do more conversations like this. I don't even know what we're doing in the next episode. Well, I've got one. Go on. And usually we haven't done it. Now ask me, ask us, could we do it? And I said, have we done it to you? And you said we haven't. But that's erotic transference. Right. If we haven't done it, I quite happily talk about that. That will be episode 39 then, erotic transference. And the other one, we can just pick something from the list. Self-harm. Have we done self-harm? I think we've covered self-harm. So we can pick one other from the list and we can start off with erotic transference. So the next episode will be around erotic transference. In the therapeutic room, because we all have erotic transference in the normal world anyway. So this will be specifically about erotic transference in the therapeutic world and how to use it, yeah, in service of positivity for the client. Interesting. We're getting some juicy, some juicy content in these episodes. That's because, you know, there's not enough, there's not enough talked about when we're talking about sex in the therapeutic room. And of course, most of the, most of the sexual process we're talking about, we can talk about in the process of erotic transference. And of course, erotic transference goes both ways. In other words, the therapist that fancies or transfers their eroticism onto the client just as much as the other way around. Interesting stuff, Bob. It's like you say, there's a lot of things that we don't talk about that, you know, this is behind closed doors of the therapy room. So there's no taboo topics. Yeah, yeah, because look, you got, yes, I could go on about the subject. I talk about it a lot. I think I've written an article on this particular subject area. And then we'll just pick one other from the huge list we've got. The huge list that you sent me. We've gone through about 20 of the list we sent us. Yeah. Well, we're up to work. This next one, erotic transference will be episode 39. So we're plodding through them. But yeah, there was about 100 on that list, Bob, that you sent me. So what if Francis, then one other and then we'll pick another two from the list as we go along. I didn't know it was number 30, whatever it is, 38 or 39. But I look forward to continuing them anyway. Me too. Thank you so much. I really enjoyed this episode, Bob. Take care. See you at the next one. See you on the next one. Bye bye. Bye. 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