Let us have a look at how we can do constraint analysis for a military aircraft and as an example we have chosen this very popular and very famous aircraft which I am sure all of you can recognize by the photograph it is a single-seat jet engine fighter aircraft and before we go ahead with the tutorial I would like to start with a question. You see this tutorial cannot be appreciated or understood unless you have gone through the procedure for constraint analysis for military aircraft. If you have learned the procedure then of course you can go ahead otherwise I would request you to go ahead and get yourself familiar and then come again to this tutorial. Let us look at a typical constraint diagram which is as shown in the figure where on the X axis we have the wing loading W takeoff by S reference and on the Y axis we have the C level static thrust divided by the W takeoff of the aircraft. The area on the right of the vertical lines and below the curved lines is infeasible. So, the possible solution space is as marked in the figure. Please note that the top horizontal line is just a theoretical line. In the reality you can go up to any value of T by W in the vertical direction. So, the question is where is the design point? Of course, the design point has to be any point within the solution space. So, it could be this point or it could be this one or the top left junction or the top right junction or any other junction or it could be any point within the solution space. Any of these points could actually be the design point. The question is which is the design point you will choose. So, the design point would correspond to the lowest value of the thrust to weight ratio and the highest value of the wing loading that meets all the constraints. And hence we would choose a point at the rightmost junction of the lines as we have seen in the red colored point in the figure. So, let us see the mission requirements of this aircraft and let us familiarize ourselves with the requirements one by one. The first requirement is the stalling speed. So, it is specified that with engine in the dry condition that means with no afterburner or no reheat. This aircraft should have a stalling speed of no more than 300 kilometers per hour. This is the 1G stalling speed at sea level at max takeoff weight. In other words, level flight at sea level with maximum takeoff weight and the CL max in this condition is assumed to be 1. This is determined by the aerodynamic analysis for this aircraft which I presume has been already covered in the past. So, you can assume either we can assume that the aerodynamic data of the aircraft is made available to us or we assume that we have estimated it ourselves earlier. The next requirement is sustained turn rate and the subsonic condition. This aircraft is required at one and a half kilometers above mean sea level at a Mach number of 0.9 to pull 9G with a afterburner on. So, therefore, it will be the wet thrust. Then in supersonic condition which is at 9000 meters above mean sea level at Mach 1.2 again with afterburner working this aircraft is expected to pull 4Gs. The instantaneous turn rate is no less than 18 degrees per second at 6 kilometers above mean sea level at Mach number equal to 0.9. CL max is again 1, but the weight in this case is what is called as the manoeuvre weight. Now, the manoeuvre weight is essentially the weight of the aircraft with half the fuel gone and the two missiles and the onboard gun still remaining with the ammunition in the gun. In this case, the aircraft carries two AIM-120 Amran missiles on the wingtips and there is a gun which has got some amount of ammunition. So, the data that is available is that the takeoff weight the maximum takeoff weight is 16875 kg, but the manoeuvre weight is only 9862.5 kg. This is the typical weight of the aircraft when it is in a manoeuvring condition. At that condition, we want to have an instantaneous turn rate of at least 18 degrees per second. The maximum Mach number of the aircraft at the same manoeuvre but at 20 kilometers altitude above mean sea level with afterburner working is expected to be 2. The specific excess power at subsonic conditions of 0.9 or I would say transonic conditions of 0.9 Mach number and at a height of 1500 meters above mean sea level is expected to be 150 meters per second and once again the engine can be with afterburner on. The maximum rate of climb of the aircraft is expected to be 160 meters per second. Normally, the rate of climb is measured in meters per minute. So, this would go to around 315,000 I think meters per minute. At maximum takeoff weight with a forward speed of 500 knots under ILC conditions, but during this condition, you are not allowed to use the afterburner. So, the engine is dry. And then we have the takeoff ground roll requirement which is less than a kilometer at an altitude of 1 kilometer above mean sea level at which the maximum CL during takeoff is expected to be 1.27 and here you can use the afterburner. And finally, the ninth requirement is that the landing ground roll should be no more than 1000 meters again at the same condition of 1000 meters above mean sea level, the airport location and CL max at landing would be 1.43 with the flaps deployed and of course, the engine has no roll in this case. But so what we can do is these are the requirements. Now, here are the requirements at a glance and at this point of time, I would like you to please pause and note down these values on a piece of paper or in any other location where you want to because you will be required to use these numbers when we do the calculations. So, what we will do is we will do 9 calculations for each of these constraints, try to then see how the diagram looks like and then pick up the design point. Now, as I mentioned to you, the aerodynamic data related to this aircraft under various conditions is expected to be known at this condition. So, either it is a given data or it is estimated by the methods that have been already discussed in the aerodynamic estimation techniques. So, I just want you to quickly have a look at what the data is assumed to be. So, we assume first of all that this aircraft follows a parabolic drag polar. So, we have CD as a function of CD0 and K1 CL square. So, in subsonic flight, the value of CD0 is expected to be 0.0243 and the value of K1 is 0.121. In level flight in subsonic conditions, the value of CD0 increases because of the wave drag and also the value of K increases from 0.121 to 0.321. This is because of the reduction in the aerodynamic efficiency. In supersonic turn, we expect a further degradation in the value of CD0, but improvement in the value of K1. The lift data is expected to be as follows in level flight without any flaps etc. It would be 1.0 the maximum aircraft CL at takeoff with flaps at takeoff condition it will be 1.27 at landing the CL max would be 1.43. So, again I would request you to note down these numbers because these numbers are going to be used in the calculations that we are going to carry out. Let us look at now the constraint analysis using the master equation. So, just to refresh your memory, here is the master equation and I am sure it looks familiar to you if you have already learnt or gone through the lecture on constraint analysis for military aircraft. But if it does not look familiar to you and if you feel that you do not appreciate what it is, then again this is a point where you should stop and no point proceeding further because you will not be able to appreciate what is being discussed. So, assuming that you know this equation and you are familiar with it, I would like to proceed further with the analysis. But just to refresh your memory, let me just show you how this equation has come about. It has come about from a very simple expression that the specific excess power that is excess of the thrust over the drag divided by the aircraft mass, so T minus D by W. If you multiply this with velocity, you get the specific excess power. But T minus D upon W is the specific excess thrust and that is equal to 1 by V dh by dt plus 1 by g dV by dt, where dh by dt stands for the steady climb and dV by dt stands for the acceleration, where V is the forward velocity. Now, you can use your excess thrust or specific excess thrust either to increase your dh by dt that means to climb or to increase your speed that is to accelerate with dh by dt equal to 0 or a combination of the two. So, you could go for a steady climb with dV by dt equal to 0, but dh by dt present or you could go for a steady acceleration which dh by dt equal to 0 and dV by dt present or you could go for a mix of the two. Now, let us see how we can expand this into the master equation. So, the D or the drag can be replaced by Cd into Q into S, where Cd is Cd naught plus k1 cl square. So, you replace instead of D, you put Cd naught plus kcl square and into Qs. The Cl is basically equal to L by Qs and L would be the lift which would be the load factor n times weight upon Qs. So, wherever you see Cl, you can replace by nW by Qs or n by Q, W by S. The W is the weight of the aircraft and that does not remain same throughout the mission. So, for any condition at which the constraints are calculated, the weight is the local weight and that weight is equal to beta times WTO, where beta is the weight parameter, beta is equal to 1 when you are at a takeoff condition, beta is equal to let us say 0.8 or 0.7 when you come into land and beta can be any other value depending on the condition at which the constraints are being evaluated. So, replace all Ws by beta W takeoff. Similarly, the thrust is also not going to be the same in all the mission segments or in the segments wherein wherever you carry out the constraint analysis. So, in general, we can say that T will be equal to alpha times TSL where alpha is the thrust lapse factor. This number can be less than 1 as you go for higher altitude from sea level or it can be more than 1. For example, if you put an afterburner, it may become more than 1. So, it all depends on the operating condition. So, all the T terms have to be replaced by alpha TSL. So, if you do this, that means if you just do this yourself, at this point I suggest that you take a pause.  You can pause the, you can mute, you can pause the video and do the calculations and then when you finish the calculations, you can resume. So, for example, if you replace all the values as shown in the master equation and then you just rearrange, you can come up with this expression for the master equation which gives you an equation between TSL by W takeoff and W takeoff by S as a function of the various aircraft operational requirements and other performance parameters. So, let us start the process of constraint analysis to incorporate these nine constraints. Now, before we go ahead, we need to understand that this aircraft is powered with a single turbofan engine and so we need to know how to get the value of alpha or the thrust lapse parameter. So, which model will we use for the turbofan? If you recall, I have just taken an image from the lecture on constraint analysis where various thrust models were suggested for types of aircraft like crystal prop, turboprop, high bypass turbofan and turbojet with low bypass turbofan. So, in our case, the aircraft is fighter aircraft, so it will be having a low bypass ratio turbofan engine or a turbojet engine. So, therefore, under the condition of dry that is no afterburner or no reheat, the thrust at any condition will simply be equal to the thrust at sea level into the density ratio rho by rho naught. But if you are going to put an afterburner, then you have to add a multiplicative factor of 1 plus 0.7 times Mach number and with that you will get the value of T. So, T available upon TC level is the value of alpha. So, the first constraint is the stalling speed constraint. This is one of the simplest constraints to incorporate. So, I am just reproducing here the requirement for the stalling speed. So, as you can see from the data in the table on the bottom line, we are already given the requirement of stall speed of less than equal to 300 kilometers per hour at sea level under ISA conditions with maximum takeoff weight. The conversion of the speed 300 kilometers per hour into knots results in 161.9. This you get by simply dividing by 1.853 and then if you convert that into meters per second, you get 83.3 meters per second. So, you can see that the stalling speed requirement is less than or equal to 83 meters per second. We are also told that the CL max is 1.0 in the clean condition when it is in a 1G stall condition. So, therefore, and its sea level the density is a standard value which all of us are remembering. We are going to assume beta equal to 1 because we are assuming that this happens just after takeoff. So, therefore, there is no loss in the weight of the aircraft. So, from simple balance of forces, lift is equal to weight and it is n equal to 1 condition. So, w is equal to half rho v square SCL and from there you can get that to maintain a stall speed of less than 300 kmph, we need to have wing loading less than equal to half rho v stall square into CL max. So, with this you can straight away calculate the value of w by s by inserting the values of rho which is 1.225, v stall which is 83.3, CL max which is 1 and if you do that it will take. So, if needed you can pause the video and do the calculation, the number will come out to be 43, 433.37 kg per meter square. In other words, to meet the stalling speed requirement of 300 kmph or less, the aircraft has to have a wing loading of up to 433.37 or less. The next constraint is the subsonic comeback turn and for this the requirement reproduced from the table shown earlier is given on the bottom line. So, what we see here in the data is that the height is 1500 meters above mean sea level, the Mach number is 0.9, the load factor in the turn is 0.9, sorry is 9g and the value of aerodynamic coefficient CD0 and K1 have to be obtained from the aerodynamic data. We know from our information that these values are 0.0243 and 0.121 for the subsonic or the transonic condition and we assume that the beta is 0.8, so some amount of fuel has gone during in the process of climbing and reaching out to the place where the combat turn happens. The thrust model will be alpha will be rho by rho naught times 1 plus 0.7m because it is a wet condition as you can see. So, you need to calculate the values of parameters rho, alpha, A is sonic speed to get velocity V and dynamic pressure Q. So, once again I would like you to pause the video and do these calculations and work out the values of these parameters. Once you get these numbers, you will see that the parameters that you calculate are as shown on the screen. So, note down these parameters, I am sure you must have calculated them. If not, you can just note down these parameters because we will need them in the next slide when we go in for the calculation. To continue on subsonic combat turn, we what we do is in the master equation, because it is a subsonic combat turn, we have no change in the altitude, no change in the velocity, this is a sustained turn. So, therefore, we cannot change the velocity, we cannot change the altitude. So, what you do is you just put dh by dt and dv by dt equal to 0. So, the last term of the expression vanishes and you get a truncated master equation. Now, what we can do is we can consider this Q into CD naught by alpha, this particular term as a term called as A. So, the T SL by WTO will be a constant term Q CD naught by alpha called as A divided by W by S plus another constant term B which is k1 n beta by Q whole square, which is also a constant for a given condition. So, you can calculate the values of A and B and then we will get a simple expression between T SL and WTO which can be plotted. So, again, I would like you to pause at this point, do the calculations for A and B and once you have done the calculation, you can match with the values which I will show you. So, the values of A and B turn out to be as shown in the screen, inserting these values in the expression for T by W as a function of W by S, you can actually get a table and you can notice that if you have a wing loading of say 300 kg per meter square, the thrust to weight ratio required for this condition comes out to be 0.55. Moving ahead, let us look at the specific excess power which is again specified in the constraints as shown in the line in the bottom. So, what do we see? We see that the height is 1500 meters. This is the level flight, so n is equal to 1, the Mach number is transonic 0.9 and in this condition, we want the specific power to be 150 meters per second or more. The aerodynamic data is to be obtained from the information available. So, moving ahead, we see that the CD0 and K1 values are obtained from the aerodynamic information. Now, let us see what happens. So, beta again is assumed to be 0.8. It is a similar assumption that this requirement is there when the aircraft has lost some amount of fuel and it is gone for combat. And since it is a wet condition, again the value of alpha will be obtained using this standard expression. At this point, we can calculate the values of rho, the density of the ambient air at 1500 meters. Alpha using the expression shown on the screen. Once you know rho naught and the Mach number which is given as 0.9, then you can calculate the value of sonic speed A because you know that value of temperature at 1500 meters. You can calculate the V because you know the Mach number and you know A. And since you know the values of rho and V, you can get half rho V square that is dynamic pressure Q. So, once again, I would like you to know if you can, but you know understand one thing, this calculation is not needed. Why? Because in the previous calculation, the conditions were identical. We had the same altitude, same Mach number and the same engine condition. So, what we can do is we can just reproduce those values here because the values of rho, alpha, V, A, Q will not be changing because the conditions are the same. That is why I have taken this particular constraint out of the sequence for ease in calculation. So, once again, let us continue ahead. Once you have the value of these parameters, now the specific excess power can be shown to be equal to this expression as shown. So, it is dh by dt plus V dV by g dt. So, if you just take PS by V, you get this expression. So, what you can do is in the master equation, the last term which is 1 by V dh by dt plus 1 by g dV by dt, we can replace it by PS by V.  And in this equation, now you have to just insert the values of the parameters beta, alpha, Q, CD naught, k1, n and by that you will be able to get the values of the two constants AB as earlier. But now there will be another constant C which will come from beta by alpha into Q by beta by alpha into beta by alpha into PS by V. So, please take a pause and calculate the values of parameters AB and C. So, here are the values that have been calculated. And using these, you can get an expression between T by W and W by S. And with that, you can get a table which can allow you to calculate the value of the thrust-to-weight ratio for any wing loading. For example, for a wing loading of 400 kg per meter square, you need a T by W value of 0.5. Let us take the supersonic combat turn which is as mentioned in the requirements, it is a sustained turn and it happens with a value of 4G at 9 kilometers above mean C level with the afterburner working and Mach number equal to 1.2. In this case, the data is just reproduced from the requirements and the aerodynamic data will come from our previous assumptions as we have mentioned. The value of beta and alpha will also be the same as assumed earlier. So, therefore, this is now a time for you to pause and calculate. So, using the atmospheric tables or using simple formulae that are available, you have to calculate the values of rho at 9 kilometers in ISA conditions. With that, you will get the value of alpha. And since you know the temperature at 9 kilometers, you can get the value of sonic speed A. Since you know the Mach number is 1.2, you can get the value of V. And since you know V and rho, you can calculate half rho V square which is the dynamic pressure. So, please pause the video at this point. Do these calculations for rho, alpha, A, V and Q. So, values obtained are as shown on the screen. And moving ahead, if we substitute in the master equation for a supersonic combat turn which is a sustained turn, therefore, there will be no terms on the right hand side 1 by g dv by dt etc. will cancel out. So, you will get a simple expression. And with that, you should be able to again calculate the values of A and B. So, once again, I will take a pause here. You should pause the video, calculate the values of A and B and then match with the values which are shown here on the screen. And with that, this particular table can be created. So, as this table shows, if you want to have a wing loading of 400 kg per square meters, then the thrust to weight ratio requirement increases to a value of 0.78.


Hey, well as we're getting settled. We just want to thank you all. How you guys feeling waterbury? You look amazing out there. Thanks for being here. We just we just took a jaunt through town and it was pretty wild We did one of these in Morrisville And it just went so well Waterbury was like what we think we want to do it, but we're not sure we want to see how one goes first Which is really smart.  We're still alive Which means he did a great job and borns energy for this truck how about a hand for borns Peter and James We appreciate you guys We also want to thank Aaron at the community bank of waterbury here. How about a hand for the community bank they? Helped sponsor this show As well as our dear friends Shawn Karen TJ and the whole crew at Lawson's finest liquids were huge fans They do amazing things Giving back to the community And and we're just a a fan of their beer and be just a fan of their whole process In their business and giving back to community because we as a band are also feel real similar and real blessed To do what we do and and it's so amazing to be making music for people Like this isn't this isn't a zoom show or ready. You know, right? I'm not in my home playing live Facebook stuff, you know So we we appreciate it And then of course the waterbury rotary have a hand for the rotary for helping make this happen appreciate you and Then last but certainly not least the show the reason that this show happened is my good friend hope Sullivan who is the executive director at the Spruce Peak performing Arts Center and Hope called me and she said Chad I'm wondering if you would like to and I said yes before we got anywhere and We did the first one and this is the second one. So cheers everybody. It's great to be here My name is Chad Hollister. This is Jeff Primo-Paremski and this is Chris Peterman We are three-ninths of the Chad Hollister band has anybody seen our large show at Spruce Peak or anywhere else Okay, all right, we did grooves and brews actually with Tammy Bass Down down the road, but it's nice to be here. We're gonna get going I gotta learn to breathe Song off our latest record called stop the world that's called here and now written by my good buddy Adam Ezra and myself those of you are not Adam Ezra fans. You should be our dear friend Marjorie Ward who's here somewhere Where is where is that beautiful woman? Oh, she left. All right. Well, she she walked the whole route with us, but she introduced us to Adam and she's amazing Been playing for Marjorie for I'm not gonna even tell you how long you didn't know that we're gonna be fireworks. Did you? Yeah, this is Chris Peterman on the fireworks You know folks just for three seconds turn around and look at those clouds How sick is that?  Thank you darling Patty runs our merchandise every year It's spruce peak and except for this past year and it was a little rough. Sorry Patty and we missed you but we've sold out the spruce peak performing our center for the past seven years and I Think we're gonna do it again. That's sure, but we're we're here for you right now So my beautiful mother, I have not seen my beautiful mama Since the beginning Jeff and I were on tour in Colorado When everything hit we had a two-week tour plan of Colorado a weekend bolder of Ale and Aspen got canceled and we're like, all right, let's get out of dodge. So we headed home and I haven't seen mom since and she is 88 years young and she's coming to town on Monday And we're gonna hang out safely, but this is a song that I wrote for her It is the title track of our latest recording, which is called stop the world and when my beautiful mama is having one of those moments That she does not want to forget.  I want to get off. So for you beautiful mama Can't wait to see on Monday Have a vodka tonic with you This is called stop the world Go crazy once So this this past week has been really difficult for for I'll say Many of us in this land in that we've lost a couple of really really great people and great friends to to myself and to many members in In the Vermont's actually in the global community. The first is Gordon Stone Who was really a dear friend of mine and a hero of mine Gordon played Banjo and pedal steel with his own band also played on fishes rift record on the Fast enough for you. That's him on pedal steel and that it's also him on the you don't steal my poor heart again on cavern but anyway, he would just he embodied of Vermont and was an amazing performer and In player and so we we lost him this past week We'd like to just dedicate this our little drive-in show to Gordon Stone And and sadly enough we have another one that we yes Gordon Stone. Sorry, and I'm just gonna tell you one brief little story about Gordon Stone he was a really he was a good friend of mine and We had this wedding in Montpelier and For those of you who know us is a band You know that we really don't play many cover songs.  I was like, all right. Well as soon as they requested that song I like I got to have Gordon play with us So Gordon played the pedal steel and I never if ever felt more like a rock star or a country star I'll say then that evening when we played friends in low places We're not gonna play that song right now. So I'm sorry if you were getting excited for that But when Gordon played it, thanks John, I Figured you out by your red pants, by the way And I was like, oh my gosh So we like we kept coming to the chorus and I was like just kept doing it over and over again Because I was like I was Garth Brooks except I didn't have the headset microphone I had a real microphone. I was like I'm Garth Brooks amazing, so That's my Gordon stone story my other story my other story is not a Story, it's just about the life of a wonderful music fan and DJ and her name was Amy McGovern And we lost her a couple days ago in a motorcycle accident and Amy was a huge strange folk fan I grew up with the boys from strange folk When Reed and John used to play at a club in Winooski called Middle-Earth Cafe I used to go and hang out with them and Reed used to sit in with us at a pizza place in Burlington called Sebastians, but Amy McGovern was at every single strange folk show She would scream your name from across the crowd and you would look and be like oh, of course It's Amy. She was a DJ on WDEV just down the road. She was a DJ at WIZN in her beginning. She was a DJ at WOKO She was a DJ at WNCS. She was just an amazing human that embodied music so for our First time ever we're going to embark on a strange folk song For Amy McGovern and for Gordon Stone Thanks, sorry for that lengthy intro In Archer Studios in Winooski, Vermont, this is called Lines and Circles by Strange Folk Sing it if you feel it, come on Trimo, give me a little bit of John Traffton Actually, give me some Trimo Yeah, the answers in the front row right here. I love you girls Yeah, oh yeah, sing it girls, come on will now there be a diamond, diamond, diamond, diamond, diamond, diamond, diamond, diamond Circles round the brand of you. It's really cool, man. We grew up with those guys and we love what they created and Traffton's out in California, Reed's in California, Luke's living up in in Maine and Actually, Eric's up in Maine and Luke's down south, but we love those guys appreciate him so much but really that was for the life of Amy McGovern and a real ray of sunshine and another musical ray of sunshine Gordon Stone, so Live on brother and sister and we love you. We love you and we miss you already. So there you have it. Thank you. Thank you. Thank you Hail to Community Bank of Waterbury. Thank you, Erin. She's out of town, but she's a huge music fan as soon as I called her She said like love to help out. So thank you Thanks to Lawson's Finest Liquids. We love you more than more than bread more than bread and beef and that's saying a lot if you know me and Huge thanks out to the Waterbury Rotary and Spurspeak Arts Performing Arts Center. We love you guys. So there you go When when COVID happened I decided that I was gonna try something new and it was pick up a harmonica So here you go. This is called I is off our latest I Seated in the cities Hippie chicks go just because it's not a strange folk song doesn't mean you can't dance. Come on, man This is our dance floor right here. Like, you know people come and people go. No, come on We love dancers. So here's the port in the show where we turn it over to our four-piece one section but tonight We got one horn and the beautiful thing is he's our horn leader. So we're gonna turn it over to this beautiful human right here Take us on home Chris Peterman take us on home brother. Won't you? Come on. We go That's right 15 Appreciate you so much This is an amazing thing. It really is like you guys have no idea what it's like to be a musician Or maybe you do maybe your musicians and be cooped up for four months and like I mean I've felt so blessed for my time with my family but And that that really is first and foremost To be able to get that time and to not travel and to be you know, we travel so much But I've really missed these guys once again the best guitarist in the world Jeff Primo-Parempsky That's when the crowd goes insane Like much more insane than you're going right now.  No, no, it's not I'm gonna try it again Jeff Primo-Parempsky on guitar Thank you That's all I was asking for in the beginning So in the future when we hang out don't give me the golf BS in the beginning go crazy for the The late night Blackback slash res insanity. Okay, right here the doctor of love When you hear him play you want to just Go for a swim Chris Peter and on the saxophone We'll have to this show because we're sweaty and soaking This is called Riley Odea. We love you This the show is pretty much over actually we've gone way over but we don't care because we're gonna play till 430 Not really in the morning, but I just wanted to tell you that Next time my name is Chad Hollister Jeff Primo-Parempsky Chris Peterman. Thank you Huge thanks out to the amazing born energy Community Bank of Waterbury Lawson's finest liquids for our incredible libations Waterbury Rotary and of course the spruce peak performing arts center Come say hello And we love you guys. We'll see you very very soon peace be good to each other and be kind and for God's sakes wear your mask Listen to dr. Fauci and not the other person. Good night. We love you. Peace


Any other announcements? OK, so it is my great pleasure to introduce Professor Daniel Niles from the Research Institute for Humanity and Nature in photo. Daniel received his PhD from Clark University in 19... 2007. 2007, I'm sorry. You're much younger than I am. We actually worked together at the Research Institute for Humanity and Nature when I was doing a project over there. At that time, his research was more focused on agriculture, landscape, contemporary environmental issues, from which I think he started to focus on the connection between material culture landscape and how people's knowledge is actually part of the material culture, as opposed to material culture reflecting in how other people have in mind.  I'm sure that Daniel can explain it in a much more elegant manner. So please welcome his whole title return of the basket on art and environment. OK, thank you very much, you go. Yeah, thanks so much. This paper has caused me all kinds of trouble. I was looking forward to talking about baskets. Since I knew that I was going to be able to come here, and then I've been regretting it, writing this abstract and using the title ever since. So I feel it's a great chance to give you kind of a first round of my thinking so far about baskets. But before I do that, I'd like to thank in particular Kent and Lisa and Junco for being my hosts, my co-hosts. It's really just a pleasure. It's kind of a dream for me to be here. It is a dream in a way because this department is, baskets have such an important position in the history of this department, and baskets have been kind of a fascination of mine for some time. And so I thought, OK, it's the perfect chance to finally do some more thinking about baskets. Now, but strangely, last night, as I was kind of thinking, why is this paper just so difficult? I realized it's because baskets, they appear to be very mundane, fairly simple in a way. That's awful dark. Is that OK? That's what we usually do. OK, OK, OK. If you want to see this and it's hard for you to record it, would you want full or half? I don't know. As long as you prefer, this is just how we feel. Then I think that it would be even better to do. I wanted to come back. OK, all or nothing. So basically, baskets are really mundane, but they're also strangely tricky. And they have a way of kind of resisting, even kind of resisting the gaze in a way. I go out looking for baskets all the time. And they kind of have a way of talking themselves out of view, or somehow a kind of self-effacing character about them that I find really attractive, actually, and interesting. So here I am trying to use some of my experience, especially in thinking about Japanese bamboo baskets to talk about baskets in general. Now, California is, of course, one of the mechas in basketry. And this is one of the earliest examples on record. It's in the Museum of the America in Spain. And it was collected probably in around 1791. And it's given credit as being really among the first to be collected. I think that they must be collected, essentially, in person from living people, because there must have been all kinds of archaeological evidences. Baskets, in archaeology, I get the sense that baskets play kind of second or third fiddle. But they're ubiquitous in the ethnographic record. People everywhere have used baskets to do many, many, many things. And in fact, the life of California over the long term would have been completely impossible without baskets. In fact, you probably can say that they're the most important technology that existed in California history. They were used for everything. And in particular, the two principal lifeways surrounding the collection of acorns and the collection of seafoods would have been, or baskets were completely involved in all of those. And the gathering or catching, in the carrying, in the storage, in the cooking, in the serving of them. And of course, there's so many other uses, but they're absolutely essential to life here. And it's interesting when you look at these very early baskets, here's another one that apparently is collected in the late 18th century that resides in the British Museum, which should really be ashamed of itself in that they provide these atrocious photos of the images of the object. It's really difficult to get much of anything out of that. But one thing that you do get when you look through this small collection and the collection, both of which are online at the Museo de Americas, is that the baskets they've collected, many of which are from Southern California, have an awful lot of this kind of natural ground. And the designs that we see on them are very concise, very, let's say, well, concise is a good word, and powerful. They're not the kind of very complicated ornate and even what begin to seem sensational baskets that maybe we're more familiar with, which are collected about 100 years later. And I don't want to do too much on this really, but here is an example of those kind of later baskets. This one itself actually may not qualify as collected very early in the 20th century, and it could actually precede the so-called penestimony of what struck California, the California collectors in the early part of the century. The late 1880s, 1890s, the early part of the 20th century. And baskets then went from being these very, very utilitarian objects to being essentially things that could be collected, and they were worth quite a bit of money on the market. And so they were, on the one hand, new livelihood opportunities open to Native American peoples, and especially Native American women. And on the other hand, many, many collectors, kind of basket rustlers, dealers, galleries, and tourists who are coming out to California and trying to find baskets in every house. And that, it's suggested by Mohan and others, has an impact on the form of the basket, on the character, the qualities of the basket. And so here's a nice little passage that says, the following, the selection process works two ways. Travelers choose what will fit into their baggage. Basket makers sensing a good market develop ranges of small, fancy baskets made especially for sale. The forms and patterns may start out as copies of larger baskets in regular use, but often they move in completely new directions. The tourist does not need a bird in a basket, but she might use a shopper. Shapes are more appealing if she can relate them to something in her own culture. Patterns are insignificant so long as they are believed to be Indian. So tourist baskets can become a vehicle for experimental, non-traditional designs. Which perhaps is not a bad thing of itself, but it does show you that there is a basket out there. There's a context out there into which the basket is entering and is changing. And this might have something to do with the disavowal. It's fairly declaratory, if I can say so, from Krober and others, in particular Barrett, who writes the first dissertation in the Department of Anthropology, the first dissertation in California in anthropology, and who kind of go out of their way to avoid kind of interpretation of baskets, interpretation of the significance of baskets to people in this place. And here's Krober's little summation of his student Barrett's dissertation, which is quite a remarkable document. If anyone still cherishes the belief that patterns were put upon baskets by the California Indians for religious or symbolic motives, or that their significance is ceremonial or poetical, the idea will be dispelled by a glance at Dr. Barrett's data in which the thousands of monotonously commonplace and concordant names are unbroken by either a single instance of symbolic interpretation. And that sets the tone. And I don't think that we ought to overdo this in a way, but I think that this is more an indication of essentially the scientific viewpoint at that time, and essentially what is a newly arrived people's attempt to interpret or to at least to see objects, but having essentially no or very little lived experience of the basket. For some more of that, Japan is a great place to go. And here is a site, the earliest wetland middens site in Japan, and also a settlement site that Junko knows very well, that you were involved directly in this excavation. And in this little pamphlet, I do not know this place well, I wouldn't say at all, in Western Japan. But in this little pamphlet, I really love it because here it features the basket makers of Junko around 7,000 feet. And what is really interesting about this site and about the basket portfolio, a pamphlet, is that it gives you some examples of the baskets themselves as they're found on site. And they are about 750 baskets found in the site according to the pamphlet among many, many, many thousands of other objects. But here you have an example of baskets made from tree materials and vines, in which many of which were used for acorn storage or nut storage, some of which were found with still nuts inside of them. And what you see in these examples is that the weaves are defined and refined. There are today in Japan about 12 or so weaves which are commonly used in bamboo basketry. And here they have an example 7,000 years ago of five of them already developed. And not just developed but really refined. And so we can say easily that this type of basketry, that these type of examples, demonstrate a good familiarity, a fine development, in fact, something that has developed and essentially remained the same over the course of the last 7,000 years. On the other side of Japan, the far east at the Sanai Maruyama site, serving the most famous at the Jomon sites, archaeological sites, is this basket. And this basket is made of wooden fibers, as you can see there. And it was found with a nut and it's kind of a nut pouch. It's only about this big. It was featured in one of the highlights in this recent exhibit at the Tokyo National Museum, just included a month ago or so. Now, if at any time as archeologists you feel that the world doesn't pay close enough attention to your ideas, to your findings, and to your knowledge, you should go to exhibit of Jomon archeology artifacts at the Tokyo National Museum. Aside from being a large museum with grand halls, large stairways, and enormous galleries, there are tens of thousands of people at this exhibit every day. It is so full that you actually have a difficult time getting at the objects. And of about the six or seven highlights of the exhibition, our basket here was included as one of them. It was the only non-ceramic piece to be featured in that way. It's only this big. The other objects of this kind, the very famous, the very flamboyant, the sensational. And here you have this humble little basket. Now, I thought that basket was really amazing. And in fact, I went there to see this exhibit because I knew this one would be there. And I also thought it was very interesting because I had just recently found this basket, which also is made of tree bark. It seemed to me to be probably a Japanese cypress, but I'm not sure about that. In any case, I couldn't help but see, wow, that seems an awful similar thing. And it was sold to me in this antique market with this flattered container, copper lined, which is often found in flutter containers. So it's solved with the idea that it would be a flutter container, but I kind of think that probably it was made for some of their purpose. I'm not sure about that, but it seems likely to me at least. And I thought, what can we make of that? You can pass this one around, especially as I had also seen, oh, just about the same time, this basket, another wooden basket. Now, this one is made originally, I believe. This is also sold as a flutter basket and it has this little hook on there, which may or may not be original, but this one was sold, as I understand, was a kind of hatchet sheet that would have been carried at the waist and used as a regular thing. Now, it's hard to put any age on these things. They can be, oh, from decades to even a couple hundred years old. When you see things dated, see things of this kind dated, you can be surprised sometimes, wow, that's three or 400 years old, but I have no way of really knowing it. Anyway, we can pass this one around, as well. Sorry, that's part of the reason that the lighting is... So, is there a big market then in terms of these baskets? Well, something like this, no, I mean, they're waiting for the basket lovers to show up, but there are a certain number of basket lovers. Yeah, they can, I mean, you do tend to see in antique shops baskets, but not often do you see really remarkable baskets. And baskets like this, as I said, before, are, they're pretty subtle. I mean, they're not screaming out for attention, so you have to find them, and then you also have to do the thing which is the kind of the magic is to agree, okay, yes, I'll give you a hundred bucks for that, or something like that, which can be an added kind of disincentive to appreciate the thing in the moment, and it just kind of costs you a little bit of, you know. So, anyway, I think these both baskets, both of these baskets are just great, and I love them in particular because they are like messages, it seems to me, that the ideas that were already present and developed here have somehow remained current, have somehow stayed alive, and that there's an experience, it seems to me, within them, or that they indicate, that somehow has remained relevant, despite all of the changes in Japanese history and the world, and the world history, and so there's an aesthetic quality which I want to return to later, but I also think that it's really useful to think about these baskets as being tools first, and there are various ways that you can go about doing that. One of them, I was reading recently a book by Gilbert Simondon, kind of philosopher of technology, and he asks us, and when we're thinking about technology, to think about the technical object as defined through its genesis, and this to me seems very interesting and kind of similar to things that others have said, for example, Tim Ingold says we should consider the object in relation to the current of activity in which it properly and originally belongs. So when it comes to basketry, that is a pretty interesting process, and here I have the chance, sometimes in Japan, to work with a scientific illustrator, and these are just our first sketches when we have begun to think about how to talk about the genesis of baskets, and this is an attempt to reflect the idea that baskets are made, they have two surfaces, an internal and external, and they are co-determined simultaneously by the materials of which they're made, its tolerance for twisting, for bending, for nodding, and the thing that the basket is meant to contain. And it's this relationship between the materials of which the basket is made and the thing that goes in that gives the basket its significance, its utility, and also its form, its aesthetic look, its appearance. So Ed Brossback in his book, Baskets as Testile Art, which is kind of a foundational work here says, for example, the traditional process requires time and a stable existence, one season to the next, and a general sense of the appropriateness of the activity to the total life. Certain grasses at certain times of the year, selected and sorted according to certain standards, at certain seasons, in certain moist atmospheres, according to certain techniques, into certain forms, with certain decorations for certain purposes. Okay, yes, that seems all very helpful, and we can also see them as, in the same time, this solution to how to solve a particular problem, how to store something, to carry something, to catch something. And as I said, we have this kind of codeterminacy of the material or this balance between the material and the thing which goes inside. A basket that's made with both the material and the object that it will contain or the task that it will fulfill in mind would have its own form, its own weave, its own pattern, its structure, its look, and also its own associations, all of which would be inseparable from the material and the place of which it's made. So baskets are linking together, place, season, material, food ways, tastes, also social practices that are associated with being in a particular place at a particular time. And at the same time, baskets are, we tend to focus on them as objects themselves, but actually, baskets are always about kind of something else. They are about ways of life. They have facilitated ways of life in particular places and they have translated that ability into material form. And in a sense, then, we can say that baskets are really about how to live here. This, perhaps, is why when you talk to basket makers or when you look at the literature, the much more contemporary literature about Native American baskets in particular, you get often such statements as to understand and appreciate Native American testimony fully, one that's like the transition from materialism to spiritualism, and that seems to make perfect sense. So, coming back to Japan, what really stimulated this talk or the frame for this talk was this sequence of three exhibitions. There have been, in recent times, in Tokyo, sorry, in New York, in Tokyo, in Paris, very sensational, if I can use the, if that's the right word, exhibitions of Japanese bamboo baskets. The first one was at the Met. It was in the Japanese Wing, it took over the entire Japanese Wing of the Met, and apparently it was one of the most popular and most successful exhibitions in the Japanese Wing's history. They provided a bulletin, a special bulletin, featuring this exhibition. They sent out 110,000 of those, and then there was so much demand they had to reprint. I went there, I saw it, it was an exhibition which focused really on the Japanese baskets, beginning with the flower-arranging baskets that are made, starting in the beginning part of the 20th century, and going through the kind of golden period around the middle of the century, and ending up here in this contemporary abstract, sculptural works. That was followed in April with this exhibition in Tokyo at the Musetomo, which is a kind of decorative arts museum, quite a fancy place. If the Met is a generalist, it's a popular museum, it's something devoted to world cultures, this one is really devoted to the decorative arts, especially in Japanese decorative arts, and here in this exhibition, it seems as if they are entering in with their focus on two principal basket makers, Isukuro Yokansai in the east, the Tokyo area, and Tanabe Chikunzai the first in the Osaka area. These were the two kind of original, two of three really original flower-art baskets centers of production, and here you see a bunch of examples, all of those are made by Yokansai, who in my view is one of the great geniuses of 20th century arts. He is spectacular, his works are just, well they just kind of defy description, they're really just amazing. Anyway, the museum here, their task, their clientele is quite an educated, at least in the traditional Japanese arts population, and here they are with the first dedicated exhibition in Japan, especially at a museum in Tokyo, in about 40 years, kind of entering bamboo basketry into the pantheon there of the great classical Japanese arts, and they do that with this amazing dark and spotlight exhibition and the selection from some of the top dealers in Kyoto and Tokyo and a few museums of these really, really prized pieces. This one recently sold at auction to the dealer in Kyoto for 300 and some thousand dollars, so baskets have now suddenly arrived, a piece like this, I mean this is an exquisite and really there are two of those, but this one is owned by one of the collectors in Tokyo and it is simply not for sale. He's been offered vast sums for it and he just will not do. And that's where bamboo basketry is going, and especially with these people who are considered to be just kind of genius bamboo artists. There was a period in Japan around the middle, in the early, in the 20s, in the 30s, in which artists who could have done anything and oftentimes were trained in painting, in classical painting, maybe in Western painting, in poetry, in calligraphy, could have done any of those things but chose bamboo. And the works that they produced were really just amazing. So I'll show you a few of those in a minute. And then finally, coming next month, opening at the Musée de Brunlie or Quix Brunlie in Paris, the Principal Ethnographic Museum there, is this kind of strangely titled exhibition of bamboo art in Japan, leaving the air, and here they're kind of tagline for the first time in France, an exhibition paying homage to the little known art of Japanese bamboo basketry that tells the story of how the basketry became sculpture. So here's an ethnographic museum, which is now kind of doing actually what I think the French ethnographic people have done quite a bit and is taking some object from one context and bringing it into a kind of Western art history. It's kind of, this one is just opening. I hope I can go to see this, but you begin to see that there are some kind of really interesting, we can say appropriations or approaches, at least to a tradition of art. It's hard to know exactly where that is going. But in any case, bamboo basketry, when it does attract people's attention, does something which is pretty unusual in the sense that it stimulates people in a way. There's this great phrase by John Carver, he's a Native American art critic who goes out of his way in his review of contemporary Native American art to include Japanese bamboo basketry, which he says, bamboo baskets woven from millennia have evolved into one of the most sophisticated, most traditional and simultaneously most innovative art forms on the planet. And that is kind of consistent with this kind of overflowing review that occurred in the New York Times about the show at the Met, one of the world's most complete and resident art forms. Wow. So let's look at a few of these baskets. Here is one, the original, this is really kind of what would be considered a classical flower basket based on Chinese forms. This is a story that I really don't get into in any detail, but in the early part of the 20th century, there was quite a bit of interest in the kind of Chinese Ming dynasty, literati and the people who kind of poet philosophers who would use philosopher's stones, hanging scrolls, miniature landscapes of various kinds and flower arrangements in baskets as objects to stimulate their philosophical and political contemplations. And these forms were defined then in China, they're oftentimes seen in scrolls and the original tea masters would ask accomplished bamboo crafts people to produce something that looked like this one here on the scroll. And so you get a reproduction and a slight kind of adaptation of classical Chinese forms, kind of reinterpreted slightly for a Japanese sensibility. Another one here, quite an unusual diamond shape opening and just a really elegant kind of scalloping to the body. Both of these baskets are plated. And then you begin to see people taking techniques. This is the son, this is Chikun Sai II. He, whoops, whoops, whoops. He is, oh, I had a little image. He's the son of Chikun Sai I, the first one whose basket is featured in the lower part of the Tokyo poster. And he takes this very fine mat and we're plating to make a subo or kind of jar shaped basket. And you begin to see people playing around with the forms and the weaves and going in many different directions and really doing what we in the West are oftentimes tempted to do when we look at Japanese art and say how modern it seems. But in any case, modern, not that's an interesting debate because oftentimes I think it is not, but in any case, these basket makers are not making traditional baskets. They're making flower baskets and they're reimagining the style. Here's the bottom view of this basket which is quite a stunning one. Here's a basket made by the apprentice, one of the many apprentices of Chikun Sai I. Bamboo sheaf flower basket in 1,000 line construction. So people are using bamboo. They're taking advantage of its various qualities to make all kinds of different shapes. For example, this one on the left, which is really a spectacular one and kind of an iconic flower design, flower basket in the world of flower baskets and with large sections of flattened bamboo. And this one, which was made by Enzo Giro, I saw this one in his house and told him it was on its side. He had made it as an object. And I said, this to me looks like a flower basket and I happen to have a tube, so I put the tube and put it there and send him the photo. He said, it looks beautiful, but he considers himself as a kind of contemporary artist and not as a bamboo basket, as a flower basket maker. In any case, this is an interesting little example. But it begs the question of what is the similarity or what is the difference? Or how do we go from here from these baskets, which according to my story here are so rooted in place to those baskets which seem to be all over the place and finally to something like this, the sculpture which is really apparently something else, entirely, sculpture. And here's the hint. The hint is that these baskets, if baskets have to be considered from both the external and the internal, these baskets are different in that the problem of containment is solved by a water container. Once you have solved the problem of how to contain the thing that goes in it, the outside can do whatever you like. And in bamboo, a material which has so much versatility to it and which has been used in Japan for so many different things over the millennia, people are extremely creative. But that begs the question. If you can do anything now, what do you do? And then it's interesting to look at the kind of, at kind of central ideas or begin to, you begin to collate through the baskets and say, okay, so what are people doing? How do we begin to understand what these forms are and what they mean? And here's a nice example. Again, another one of the sun is the same basket maker. One of the things that you see is that, boy, these artists are not constrained by any preexisting idea of form or style. They go all over the place. And this artist is just as capable as doing these and of many others. Anyway, this basket, he makes kind of early on, assuming his formal artist's title, it's called Mountain Path. And when you look at this basket a little bit, it has a kind of a more, it has this kind of rough, of course, open weave. It's random. And it has this long length which circles around the width of the basket three times. And you might just barely be able to see but it's kind of scarred and stuffed up. These bamboo would oftentimes be reclaimed from old farmhouses where they would have been smoked and preserved and patinaed over the centuries. And he and other basket makers prize that material in the color and would reuse them in their baskets. And this one is kind of scarred and stuffed. It's been well-worn and well-worked. And so the basket is entitled Mountain Path. So you see a kind of homage to rusticity, to country life and to the kind of everyday objects of the traditional Japan. Here's a basket by the elder brother of Rokansai in Tokyo. It's a basket which is entitled Potato. And it's meant to look more or less like a potato. Now you have to, I find myself quite impressed at the artists who have such cultural cachet and really such incredible skills who will with a kind of affection and it seems a sense of a fumer and warmth makes such humble shaped objects. But at the same time, this basket is kind of deceptively plain and simple. The weave, you can see that the verticals are kind of moving in two principal directions diagonally. And these ones heading off to the left direction skip outside the ones to the right never do. And there's a kind of formal, so there's a method, there's a pattern which is almost sensible there but there's a regular method that he has used. And the basket has a kind of looseness at the same time that it gives you this kind of representation of the image. It seems kind of less woven together than almost gathered up kind of in a single breath. Here are other artists. One of this basket on the left in the shape of an eggplant. This is a gorgeous handle there. And the one on the right in the shape of a double gourd. One, of course, of the oldest and most useful of plants around. And then this basket, which I have seen recently. This one, if you know Japanese food, you may remember natto, natto is a fermented soybean. It's a high protein and high kind of antioxidant or whatever food. And you would find that traditionally packaged and maybe even fermented in a rice straw package. Inside there would be this gooey bean paste. Really stinky but people, especially children tend to like it. Anyway, this is definitely a kind of country home food and anybody who knows natto would recognize this thing immediately and it couldn't help but kind of make you smile. And it also shows a kind of humility in the ideas that bamboo, which is kind of considered traditionally or oftentimes at least in the art world to be a kind of a noble material here is masquerading as regular old rice straw. Then there's something else. And this is slightly different. Perhaps a little bit further afield but also very interesting. These two baskets here are almost identical. Are a kind of reverse image. Are a kind of reference or something like that to the most recognizable form of Japanese surrounding. One of the oldest ceramic traditions in the world and baskets and pots of this kind. There are so many different examples but here on the right at least is one around 4,000 years before the present. And here we see in 1930 that artists are still using them as a kind of a reference it seems. A kind of translation of ideas from the past. And when you begin to think about these objects as being involved in some kind of dialogue things become more interesting. And in fact you begin to be able, I think to trace ideas across the realm of material culture. So you see a kind of dialogue between tree and bamboo, between pot and basket, between fiber and clay, between ideas of nodding, the techniques of nodding. A kind of internal dialogue between objects and elements across the media and through time. And between materials and forms between patterns and textures as if commenting on related ideas. And I think that this makes good sense in a way if we come back to the idea that these clay baskets are really about how to live here because Japan, like California, are territories which have been long inhabited and in which there's been a very slow evolution, co-evolution of food, landscape, or livelihood practices that on which people depended for very, very long time. And new things that arrived were integrated into pre-existing fields of activity without oftentimes completely displacing them. And so here we come in a sense perhaps to some idea or approach to the aesthetic potency or the aesthetic powers of objects. And I would suggest then that what we're, when we're talking about the aesthetic component of objects, what we're oftentimes talking about is their ability in one quick moment to link up different realms of life. To link up people's understandings of seasons at place, of everyday practice, and social experience, of the passing of time, and their sensibility or sensitivity to the ever present natural agencies that make community life possible. And the aesthetic effect or impact is really about leaping together of those different realms of experience and making it sensible in one quick moment. And the quicker the leap, the greater the excitement, the greater the aesthetic impact and the sense of significance and finally the sense of beauty. So as tools then, because they don't cease to be tools, we can see them in the sense of, in addition as the sense that Engel says here as clues and a landmark that condense otherwise disparate strands of experience into a unifying orientation, which in turn opens up the world to perception of greater depth and clarity. Clues are keys that unlock the doors of perception. So in the last minute or two, I just want to say something about these exhibits because none of this sensibility, not the landscape, and certainly no deeper kind of archeological history is present in these three exhibits, at least so far as I know. And instead what we see is a move in contemporary bamboo to this idea of abstract sculptural figure. And it's interesting to note that these are almost entirely purchased by Americans. Almost entirely, there's virtually no market for contemporary Japanese bamboo art in Japan. Almost all of them then comes from abroad, mostly America, although increasingly now with this exhibit in Paris in Europe. And the demand is mostly served by a gallery in Santa Fe, the Thai modern gallery, which signs these artists to exclusive contracts and in a sense promotes them and makes them able to sell their kind of work. So it has to be given some credit, but also tends to, it seems from some of their longer term artists, kind of track them into an idea like this one. And it seemed to me that this perhaps could be in some way similar to the impact if it indeed existed of the kind of canistermania under the California baskets. And that to me seems, if I may say so, a bit of a shame because you see again a kind of relatively arbitrary and contemporary aesthetic sensibility applied to baskets. And in the end, it leaves the exhibitions themselves, the Met and the Tomo as being, on the one hand is very gratifying to see these baskets, such beautiful baskets. On the other hand, you feel still something missing, something important missing. And it seems to me what's really missing there are the place values. The objects themselves become objects for contemplation by standards which are mostly informed by a kind of Western, an understanding of Western art history. And in that context, objects cannot translate their wisdom and their meanings are quite opaque. And it seems to me that they're converted mostly into only another commodity. And this in the world today seems to be a bit of a shame because you have in baskets, thousands and thousands of collected years of experience, of environmental experience that is still, it seems to me, present in them. And instead of speaking now to that history, you essentially develop a new kind of commodity, a new thing, a kind of clutter in an already cluttered world. And it seems to me that this is a kind of lost opportunity to get at some of the deeper meanings of material culture. I mean, while you're here, and you're going to be looking at the Hearst Museum and its baskets. So kind of just within a minute, so what's your kind of, what's your research design in terms of how you're relating these back to the Japanese baskets? I mean, so I know that's part of what you're looking for. Yeah, you know, on arriving here, I have to say that my initial kind of proposal for looking at the baskets here and comes off as a bit uninformed. And part of that is seeing that just how much material has already been worked on and developed on California baskets. And I really felt like, okay, wait a minute, time to back up a little bit and start to see a little more of the lay, of the land in terms of the basket literature itself. So I'm really interested to see some baskets, but I still realize that this is a vast world that I really don't know very well. So it's a slow down mode, yeah. So it's a learning curve along, yeah. Yeah, yeah, yeah, yeah. That's interesting, yeah, please. Well, if you come to the Perse Museum, I hope you look at our Japanese basket collection. Thank you. As we recently got a collection of about 200 contemporary baskets that were made for use in farms. Great. And they've never been studied since we acquired them. Great. About five years ago or something, so this would be a great opportunity. Yeah, thank you very much. I love to take a look. Great, thank you. Thank you, thank you. Is that bamboo? They're mostly grass. What? They're not too many of the art baskets, but there are two bamboo baskets as well. By the way, in the last minute, I meant to do this, too, but I got distracted. Here's a contemporary wall hanging basket, to kind of show you a later version, made by Yozaru Jirou, who did that kind of open abstract flower sculpture. You see, he does what many, most all basket makers do these days, sign the back, and this is his kind of approach to the contemporary hanging basket. And it's made of bamboo? Oh, entirely, yeah, entirely bamboo, yeah. And return, the ties are returning, yeah, so. We had a basket twiever's presentation here, in January at Korea, from the Sukwon Museum. Yes. And we actually had him in Hokkaido to do a basket workshop. Right. What really impressed me was that, at the beginning of the basket weaving workshop, he said that 80% of the work is actually to collect the raw materials, and it starts with planting trees in the forest. So for him, it was really tied to the environment. Yes. And that made perfect sense to me, and yet it wasn't really sinking into me. So at the end of the workshop, we are cleaning, there are these tiny, like a couple of inches of leftover. And as I said, no, no, wait a second, that is very important. And that really made me realize, okay, even like a couple of inches of piece of a small grass rope is very important. So to what extent these artists will get that kind of sense, I think, how they get the sense of where the raw materials are coming from. That might be one of the clues to link their artwork with the environment. Yes, definitely. The different basket makers are kind of linked into local environments to different degrees. All of them are super attuned to the different qualities of bamboo, the different varieties of bamboo, and the ways that they can be worked. And in fact, when you begin to look at bamboo, in fact, this guy, for example, he's on Sado Island and he uses some varieties which are particular to Sado Island. And bamboo people recognize that right away. So no, we don't have a chance to work with that material. That it would be something that is very distinct. And some of those are, some of the contemporary basket makers are essentially urban-based, so they don't do the landscape practices. But many are out there in small villages and hamlets and they do manage stands of bamboo and they do that very carefully. So it really does take, there's a landscape dimension of the management of the plant. And definitely the same is true in bamboo that the preparation of materials takes much longer than the leaving of the basket except for a few extreme examples where the basket becomes extremely intricate and can take months, three months, four months to do a single work. But yeah, that is consistent, please. Is there, are there living national treasures who are engaging in that basket? Yeah, yeah, yeah, there are two now, yeah. And there have been, I think that there have been six in total. It goes back, those two early, those two great masters were both kind of too early for the designation, but the son of Rokansai Shokansai, he was named as a national living treasure and there have been a number of others from the Kansai and the Tokyo areas. So a few, and so they do, you do get bamboo baskets in those really in the national competitions and things like that. That's competition basketry. So those skills of being passed on, they take up rent as six and yeah. I don't know, one of the current Katsushiro Soho, he's awful old right now and he's not making many baskets at all, I believe. But regular basket makers do take apprentices normally and then there's still, there are two bamboo training programs. One in Kyoto, but the most famous is in Oita, sorry, in Beppu, in Oita Prefecture. And many of the contemporary basket makers go through that. In fact, the current Chikunsai, Chikunsai is one, two, three, four, five, the current fifth Chikunsai, who I believe is the great, great, great grandson of the first went through the bamboo vocational program in Beppu before assuming his title. So in the old days, you would apprentice from the age of children would start in the age of five and six and seven. And by the time that they're 19 or 20, they have all of the skills necessary. And from then on, it's a question of what they choose to do. But bamboo basketry as a whole these days is really on, it has trouble because people don't use flower baskets the way that they did. And as a consequence, this has become the new market. And it makes really good sense and Thai gallery, Thai modern, you kind of can't fault them because they have supported artists for some years. And at the same time, they're a little bit tricky. They have these exclusive contracts. And yeah, from the inside of the bamboo world, if you're not in Thai gallery, then you become kind of a non-entity internationally, which is a shame seems to me, but that's their model. I was wondering like, what's that little goal kind of benefit of sticking to the categories of baskets when it's changing quite a bit. And also like how interchangeable it's kago and baskets. For example, the German one. I was at the exhibit, it was drowned by all these other thermic. I don't even remember, like you said, it was so crowded. But also what was the Japanese title for it? Because when it's flat like that, it would occur to me to think of it as a basket, because baskets kind of like in my imagination has to have like some space. And I mean, it's like flat, it's more like a pouch. It was a pot, yeah. Yeah, I don't know. I don't remember the title in Japanese. It's Gojoumon Poshet. Poshet. But in Japanese, what was it? It's Katakana. Katakana? Oh yeah. So yeah, kago, most of these, I mean, okay, the question of is kago, these are not kago, these are obje. Right, right. That's what artists say, we're making obje. So yeah, that's a problem that they don't know. I mean, they're looking for a new market and if baskets are not the, you know, Hanakawa are not the market, it's not our baskets, then obje will do. If that's the new frame. But you think it's pretty interchangeable, like the Japanese word and the baskets. Kago. In English, yeah. Yeah, that's interesting. It seems to be the kind of, that's the way it has been done so far. It doesn't seem bad to me. But maybe I haven't done enough. Well, we did the Aino workshop. After we did that in Shirahoi, we went to Nibutani and their fabric waivers were very interested in baskets. For them, the distinction of weaving cloth from barks and collecting barks for baskets, that was still all part of there. Right, yeah, yeah, yeah. See, the textile people, especially Japanese, our original textiles, because they were using all of these three materials, they're really interesting. And I've just kind of began to realize, oh, this is natural. These are the same ideas, in a way. And the knotting, and that's part of the reason I took the picture, it was not so fair, because knotting ends up showing up all over the place. You know what I'm saying, knotting is really, really important. So it's something that easily is over the place. Yeah, at least these things together. And that's made it tough, but I have two questions. Actually, the ispando baskets actually have a very, a lot of influence from, if you see the art of acid at this point, it's actually the tea ceremony. Yes. Yes. A lot of influence. Yes. So going back to the, you know, the modernization just began, just some of them, actually, some of the philosophy engineers decided to see craft art in everyday life, and art of beauty, for art and ethics. So that's kind of very different. Two different streams to understand how beauty it is. Right. So what do you think about this? So right now, this actually going to the much more, the art and aesthetics version. Yes. It's completely different, actually, the context from the, you know, the craft arts in everyday life. Yeah. So right now, you are trying to support the, I thought, but yeah. Oh. So how do you think about that? Differentiation of the beauty. Yeah.  And tea ceremonies is, these things are, I wouldn't say they're right at the center, but they're certainly an important element within the tea ceremony. And they would have been used to set up little compositions of seasonally appropriate flowers as part of the entire complex, which would have been in both tea ceremonies, a kind of recognition of the moment in time, in the moment together, and chance to have a kind of social exchange within this explicit kind of environmental imaginary, in a way. And within the tea ceremony, there are two kind of separate tea ceremonies, the Chinese and the Japanese. And these bamboo artists begin to blend them together in terms that they take references from both kind of traditional Japanese, Chano-yu context, and also from the Sencha, the world of Sencha. And you start to see that type of thing in these baskets when the basket makers who are really trained and brought up in a market that favors the Chinese baskets begin on their own in a way to experiment with what they consider to be more kind of traditional Japanese aesthetics. And so you get this type of thing, which is, could have been used in the Chano-yu and the Japanese tea ceremony, but also could have been a regular everyday kind of mushroom collecting basket. So you see a blending, because within the Japanese tea ceremony, oftentimes you would use, you would see a kind of, and we could call it a preparation, but was really more of a kind of an honoring of everyday material culture, regular rustic things that would have been brought out of. In fact, one of the most famous baskets is the Katsura basket, which the founder of the tea ceremony needed a basket for a tea ceremony for the great emperor, ran down to the river, saw a fisherman with a fishing basket, took his basket, bought it, or took it, I don't know what, and brought it in and put it in the Tokonoma as the flower basket. So there's direct link, yeah. So it's in there, definitely, all of this, yeah. It's all ready. Well, thank you very much. Thank you very much. My pleasure.


Hello friends, I am Sanjay Gupta. In this video, I am going to demonstrate you how you can print those numbers which are Armstrong and available in array. Before starting, you can note my information, you can follow or subscribe my YouTube channel through this URL youtube.com slash sanjaygupta underscore tech school. You can download my programming app TechMS which is available on Google Play. Now coming on to the topic, here you can see I have implemented a code for you. First header file inclusion, then inside main various variables are declared, then printf will display the message enter elements on console. For loop is repeating scan of statement 10 times so that 10 elements can be stored inside array at different indexes. Now for calculation purpose, again I have implemented a for loop inside this loop. Each element of array will be assigned into n one by one. So first a zero will be assigned into n, then s is initialized with zero. Inside this while loop, I am going to calculate some of cubes of each digit which are available inside n variable. So after calculation of that sum, I am comparing that sum with AO5 because n will become zero after completion of while loop. So I can't use n here. That's why I am using AO5. So AO5 is containing original value inside array and s is containing the sum. So if this sum is equals to AO5, then only number is Armstrong. So I am printing that AO5 on console with the help of this printf. Otherwise nothing will be displayed. So this process will repeat 10 times so that each number which is available inside array can be checked whether it is Armstrong or not. So each number will be assigned into n, then its sum, sorry, then its digits, cubes, sum will be available inside s variable. Then it will be compared with the original value and then number will be displayed if it is Armstrong. So now I am executing this code so that you can check whether it is working properly or not. Sorry, instead of a, I have to use t here because the remainder is assigned into t variable. So it is asking for 10 numbers. So I am entering different numbers. You can see the output 153 is Armstrong and 153 is Armstrong. I have entered 153 twice in this array and rest of the elements are not Armstrong. So you can see the code is working properly. It is printing only those numbers which are Armstrong on console. So this way you can implement this code so that you can identify which numbers are Armstrong available in array and which are not. I have implemented this code for only three digit numbers because I am calculating cubes. If you want to apply this for any number of digits, then you have to change this logic. So I hope you have understood the code, how you can print those numbers which are Armstrong and available in array. If you want to watch more programming related videos, you can follow or subscribe my YouTube channel. That is youtube.com slash sanjaygupta underscore tax school. You can download my programming app TakMS that is available on Google Play. Thank you for watching this video.


Baiklah, mari kita mulakan. Okey, jadi... Bagaimana dengan Eagle? Tidak mengapa. Tidak mengapa, okey. Okey, jadi... Kita akan berjumpa tentang Eagle. Jadi, ini sebenarnya quite old software. Ia dibuat oleh perniagaan Jerman yang dipanggil KatSaw. Jadi, seluruhnya saya menggunakan maklum saya. Jadi, jika anda meletakkan keadaan yang lain, atau anda tahu apa-apa lagi, anda akan melihat bahawa mereka mengubah banyak skimetik yang dibuat dengan Eagle format. Jadi, sebab itu, mereka mempunyai pengalaman yang luar biasa. Jadi, masalahnya Eagle adalah software yang mempunyai pengalaman yang luar biasa. Jadi, mereka mempunyai pengalaman yang luar biasa, tapi untuk pengalaman tidak ada pengalaman yang luar biasa. Maksudnya hanya dua kawasan, dan 10 cm x 8 cm, jika anda ingin pergi di luar biasa ini, anda perlu menerima dan ia tidak berjaya. Ya, jadi, ya, mereka ada beberapa pengalaman yang luar biasa. Jadi, anda hanya perlu mencari. Mereka menggantikan perniagaan, perniagaan, dan perniagaan. Mereka menyebabkan file, file XML, file HP, jadi, ia sangat bagus untuk pengalaman yang luar biasa. Jadi, ia berkaitan dengan perniagaan software yang lain yang dilakukan oleh LTM. LTM selamat dalam format pengalaman yang luar biasa. Ia sangat baik untuk pengalaman yang luar biasa. Baiklah, saya sebenarnya telah mengajar kelas untuk Eagle sebelumnya, tetapi kelas selama 6 jam. Jadi, saya pasti tidak akan mencari semuanya. Sebenarnya, saya akan mencari sesuatu. Dan untuk beberapa pengalaman yang luar biasa, saya tidak akan mencari dalam kelas itu. Baiklah, soal satu, kita akan melakukan projek dami di sini. Jadi, projek dami itu sangat mudah. Kita akan mempunyai LED yang boleh dimuatkan. Ia dibuat dari kawasan. Saya akan menggunakan kelas LED, kawasan kawasan, dan kawasan CR2032. Baiklah, mari kita mulakan. Jadi, kita akan memulakan Eagle. Jadi, perkembangan pertama, biasanya, adalah untuk memuatkan kelas yang lebih tinggi di sini. Tetapi, saya tidak akan bercakap tentang kelas di sini kerana tidak ada masa sekarang. Jadi, kita akan melakukan ini. Kita akan pertama membuat kelas kami. Kemudian, saya tidak perlu menjadi sebegini, saya hanya akan memuatkan kelas yang lebih tinggi. Saya rasa semua kelas tersebut adalah kelas yang lebih tinggi. Jadi, hanya untuk menjaga diri. Ya, baik bekerja. Jadi, saya akan memuatkan kelas yang lebih tinggi. Jadi, sekarang kita akan membuat kelas kami di sini. Jadi, kelas yang lebih tinggi di sini. Jadi, pertama kali kita membuat kelas yang lebih tinggi, Eagle akan membuat kelas yang lebih tinggi. Jadi, kita dapat melihatnya. Ini adalah kelas yang sangat tinggi untuk saya memuatkan. Ia sangat susah untuk memuatkan kelas. Jadi, ini adalah semua kelas yang tersebut. Jadi, pada kelas yang setiap, anda akan menemukan kelas individui. Untuk baterai, saya akan memuatkan kelas baterai di sini. Kemudian saya akan memuatkan CR2032H, yang adalah pemanggilan di sini. Jadi, saya akan memuatkan kelas di tempat ini. Kemudian yang lain saya akan memuatkan adalah kelas yang lebih tinggi. Jadi, kelas yang lebih tinggi adalah Just press S-T, Switch D-I-L, S-D-4-0-1. Okay, it's a switch here. So I can actually just right click to change orientation. I just put it here. Then next one, I'll add the resistor. So I can just search the part. Resistor, here, resistor library. For this case, I will use the US symbol. So R-U-S-0207, here. So here is the symbol, and here is the package size. So let me add it in. Then finally the LED. Okay, so now let's add the LED. Here LED, LED, 5M, 2S. Okay, so now we have all our components on the schematic. Let's wire them up. So the wire command is here. Next. Okay, so let's zoom in. I'm zooming my scrolling in. So the part about eager that is not to wire properly, right? You need to do this. Click here. Make sure the overlap is about one unit only. If more than that, right, then eager will not register that as a connection. So I just come here. Then I just do the same for the rest. Okay, so now I need to wire from here to here. So what I do is just like this. Certain distance, click one time. Click one time, I click to change the direction. Here, and come back here. So we have our simple schematic here. Okay, so I have all here already. So at this point, right, we want to use a function called ERC. So ERC basically checks that your schematics makes sense lah. They don't have any missing connection. So for example here, warning is usually not so important. Like LED one has no value, right? So to rectify this, maybe I want to give a value to it. Maybe I'll call this red. So people know it's a red LED there. Then I run the ERC again. Ya, no more already. But let's say for some reason, right, if I, for example, I did not connect this part. Or for some reason, I did not connect properly. So I run the ERC again. They'll tell me here overlap. So you should go and rectify the problem. So verify, okay. So for some of them, I just ignore lah. No value ever mind. Actually register, I should write the value. So I'll just call this 3-3-0. Okay, run ERC one more time. Okay, here. Okay, so now we move on to the board layout. Create. Okay. So we have our board here. So but before we do anything, we need to configure ego properly to our lighting. So the first thing I normally do is I'll adjust the grid size. So I'll turn on the grid. I'll set this to millimeters because millimeters is a unit that most of us are more familiar with. So notice the grid is now visible. Then the next one is we assign keyboard shortcuts. So here options assigned. So I've already assigned some shortcuts. So later I'll go through what is red status at PRC. But yeah, I'll just put there first. Then the next one is the vector font. So normally you should take both of this because by default ego does not use vector font. But when you convert to a gerber font later, which is the font that you send to your fabricator, they almost always will require a vector font. So just take these two options. Okay, so now still not yet, we need to load our design rules. So for those who are not familiar with design rules, it basically means the limitations of your PCB fabricator. Because the PC fabricator, they have a limit. For example, your wires, the tracers cannot be too thin. Or your components cannot be too close. So as an example, here is the, I will use Eloqo as an example as fabricator. They have all their requirements here. Like a minimum hardbox, thickness, tolerance, whatever. So it's impossible for anybody to remember everything. So what a fabricator usually do is that they'll provide a design rule file here for you to download. So once you download this file, you load this into Eagle. That's my DRC here. Okay, then I'll load the file. So I've already downloaded the file beforehand for 2 layers. Okay, so okay. Then once I load it in, right, then when I engage the DRC, Eagle basically checks whether your PCB actually fits the requirement of your manufacturer. He had manufacturer to check lah. Sorry, no, I load it beforehand because later I'll need to use this file again and again. So I load it first. Okay? Okay, so, here. Okay, so we load the DRU. Okay, then the next thing is to adjust the port size. So, this obviously is too big. So my normal, the normal way I adjust is I adjust for example 45mm. I make a square. Okay, adjust this one here. So once we put in, then we can just copy the components in. Normally, at this point you add a ground plane but I don't have time to explain the ground plane. So I'll just put the components in. Okay? So how do you click the move command here? Then you see that every component actually has a plus sign here. So a plus sign is basically if you want to operate on a component, you should go for that plus sign. So for example, I want to move this battery holder in. So I'll click this and I'll just move in here. For example here. Okay. So I'm sure you notice the yellow line. So the yellow lines they are called air wires. So air wires basically guiding guide points for you to tell you that you need to connect the components from first up here to here. So to connect them, we use the rock command rock button here. Rock manually. Then I'll click here. So this is blue. So blue means the bottom layer. We are going to design a two layer board. So here I will switch to top first. Then I can adjust the trace thickness. So this seems like a bit too thin. So I just increase it maybe 1mm. Then you can see here we should try to avoid right angle because of signal reflection. So I'll just do something like that. Just click here. Put here. You can see right you can get different wiring types. Curve, right angle and angles. Then if you want to go to the bottom layer because it's a true hole component, I can just click go down to use the bottom layer and connect. This will work also. Okay, so at this point we execute the DRC so we just do a check. But it seems to be this is a command that we use often, right? I'll assign the shortcut key just now. So let's assign. So just now I use f6 for DRC so I can just f6. No errors. So for example if I really don't have error like I do something like that. So if I do see that ego will point out. Ya, like there's a problem there. You go and identify it. So DRC no errors. Clear. Then another command actually we should use also is RESTS. So RESTS basically means to realign out the air wires and tell you how many wires we have not wired yet. So for example I remove this. So I run the RESTS command. If one air wires they tell you that you have not connected one of the wires. So let me wire it. Okay. So to be actually considered done right. RESTS, mushroom nothing to do and DRC mushroom no errors. Okay. Then the next thing is that you will add some silkscreen. So to add a silkscreen is here. So what I'll normally add for example I'll add LED board then maybe I'll add revision one and so on. Then okay. So I need to play. So you can see here these are all the layers of the board. So this is the top copper layer bottom copper layer all the pants, wires and so on. So the top silkscreen is called T-Plays. I'll put it here. I can adjust the font size also. You can see. So let me 1.78 I just sit here. Then I have my silkscreen there. Then another step I'll do is I'll mitre the corners. Okay. This one. Because right if you make a PCB it will be quite sharp. It could be a bit dangerous to whoever handling. So you can do this. Curve the corners. So normally what I do is make sure the radius for 2mm. So you just do this for all the four sides. So the board is I think more or less done. So we just run the DRC again just to confirm. Okay. No errors. Theoretically Elo Pro should be able to manufacture this board. Okay. What about the next one? We generate the double file. So again, it's something that you send to your PCB manufacturer. You don't send your Eagle file. You don't send your Kai-Cat file or whatever. You send the double file. So how do you generate a double file? So for Elo Pro they have provided a company called 10 file for Eagle. So all you do is download it and load it into Eagle. So I just show it to you. 10 processor I'll open here. So I've already downloaded beforehand. Okay. Okay. So I just need to click process job. Okay. Let me close first. Okay. So nothing appears to happen, right? But actually something has happened already. So you should go to the directory where you store your files. You can see that suddenly a lot of files come out. So all these are the double files actually. So to send to your manufacturer you don't zip up everything. So here for example, Elo Pro tell you that they only want certain files. So basically you can look for the files with make already. Okay. Zip up relevant. Yes. So that's all. Start. Any questions? Yes? Sorry? In which company I sent to? Ya. So normally I send to Elo Pro. I used to use to see studio but I found because I use stencils a lot and see studio stencils are quite expensive. So I use Elo Pro's put up. The stencil okay. Minimal mark. Okay. Okay. The first before that I'll look at how low can I go based on by Elo Pro. So I need I'll look for example minimum track PCB track. Okay. Here. Six mil. So it's I'm not sure exactly how many milimetres. But you just do that you can find the milimetres so we just adjust here. So. Yes. Ya but normally they tell you six mil but recommended eight mil. So ya. So. Ya. Normal as a rule of thumb we go for the thickest track you can afford. Thicker is always better.  So normally wire what our wire first is the high speed signals for example USB is considered high speed signal then after that our wire power then everything else power usually have be very thick.  Any more questions? Ya. So that's all. So next will be pausian and how many of you have used Kycat a couple I only opened it.


On plus TV News Now, Preston Baller, Tinnable 6 Senate Confirmation of New Service Chiefs. Our amazing, indiable, South-East Governors resolve to make Preston Tinnable to end insecurity ravaging the zone. Portists continue across Israel as Judicial Reform Advances. Good Evening, I'm Alameda Adyemi and this is the News Now. Preston Baller, Tinnable has written the Senate second for the screening and subsequent confirmation of the new Chiefs of Defence Staff and Service Chiefs. The request was contained in a letter addressed to the President of the Senate, Salazar Galtway-Aquabio. Aquabio, who read the letter today during plenary, said that the request was in line with the Act established in the Amp forces. Recall that Preston Tinnable had last month appointed Major General Christopher Moussa as the new Chief of Defence Staff of Major General Sir Reid Laguaja as the Chief of Army Staff. He urged the Red Chamber to consider his request expeditiously. I am pleased to present for confirmation by the Senate the four nominees listed below as Chief of Defence Staff and Service Chiefs of the Armed Forces of the Federal Republic of Nigeria. Chief of Defence Staff, Major General C.G. Moussa, Chief of Army Staff, Major General T.A. Laguaja, Chief of Naval Staff, Rear Admiral Emmanuel E. Kichuku Ogala, Chief of Air Staff, Air Vice-Marshal H.B. Aboberka. The Senate is invited to note the current security situation of our country, which requires considered a force of both the Legislature and the Executive to ensure a well-protected nation. This informed the review of our Defence architecture and appointment of new leaders to work in synergy with one another to achieve the level of optimal performance expected of the military. While I hope that the request will receive the expeditions, consideration and confirmation of the Nigerian Senate, please accept the single Senate President and the single Senators, their assurances of my highest consideration. This is signed by His Excellency President Bola Ahmed Tunibu. The House of Representatives has constituted an other committee to screen the newly appointed Service Chiefs. The House Speaker, Honourable Tarjadee Abbas, ruled out names of members of the other committee at family shortly after the resumption from the closed-off session today. According to the Speaker, Honourable Babajadee Burnton is to chair the other committee with members consistent of many principal offices of the House. Honourable Jimmy Benson, who chair the other committee, and all principal officers, both from the majority and minority, will be members of that committee. Thank you.