Hi, I'm John Furrier with SiliconangularCube. We're here in Sundance 2018, all weekend, capturing the most important stories of how technology is impacting the new creative. So check out our footage, check out the soundbites, most important content here. We believe a new creative renaissance is coming in application development and also artistry, the role of craft and the role of technology and software coming together at the intersection. But also there's a few thought leaders at the front end of this big wave setting the trends and they're here with us.  It's always about the artist. It's been a pavement talking to the most important people. Sundance has been on the leading edge of exploring new technologies. AR, VR, AI, machine learning and all the neat acronyms we love to throw around. People coming here with a willingness to learn, wanting to learn from other people. Just meeting people and seeing the new projects that are coming out.  It's the pool of knowledge that's available inside of Sundance that everybody that comes here can actually tap into. I just think that's brilliant because in that community spirit that's really going to help enable this industry quickly. And they need it, that's what this is here for. Sundance is turning into kind of an artistry tech show and the game is changing your thoughts. Not just film anymore. The idea of an interactive or 360 canvas, basically there's different ways to tell stories now. If I look back just a couple years those are really just discussion points. Back in the day when it was one or two it was a lot of, oh you do VR, what's that then? The emerging technology used to be like the additive thing like let's go see what's next. Now it's just a part of the big story. It's not that VR's here. Oh good, we have a VR section. It's a lot more of an integrated setup and it's been really encouraging to see. Something about this year feels a little bit different and I think maybe it's that people are getting more familiar with the technology. I think the artists are getting more comfortable with how to push the boundaries. This is a new generation here and you're seeing a younger demographic, you're seeing savvier consumers. More demanding than ever before. They love tech. My kids think Marvel's special effects are the norm, right? So how do you create content to keep them enticed in these short bites and their shorter attention spans? This year there's a lot more social VR. We're connecting people even though they're in the same space they're able to to be in this new virtual world together. Everyone knows that VR can bring you to brand new worlds and exciting places and immerse you in places that you can never go. But the one thing that I think we learned is that if you can create a bond between the user and other characters in the experience that they believe is real then they want to come back again and again. Yesterday we had a number of people come through hero and a number of them actually couldn't handle it. Had to come out the moment we took the headset off, tears were streaming down their face. You know empathy, empathy machine you know gets thrown around a lot. You could do a drinking game around it you know but it's important to know that there is a truth to that. There's a level of emotional impact VR is extremely able to cut through. When you're in the first person perspective there's so much more you know it feels more personal. It's not that you're playing a character, it's not that you're in a separate world. You are you inside of that space and that that is a dangerous but very promising ability of VR. Oh look at the beautiful vistas and the beaches and the peaks and you can almost be there. Now you're taking a different approach of putting people in situations that you know probes some emotional response. All over the world every day people are going through horrific stuff. We're fortunate because we're the kind of people who in order to experience say a tragedy in Syria we're fortunate that we have to go to Park City Utah and go in virtual reality to experience something that is tragic real and deeply emotional and so our goal is to put people through that and come out of it changed, traumatized actually. Pushing people to think about their moral conviction. Is it appropriate to affect people's minds and connect with them in a new way because you could actually be affecting their long-term behavior and how you know how they interact with technology even to the extent of whether or not putting a child in a VR headset is appropriate because you could start to play with their ocular muscles and all kinds of things right. So people have to be respectful of the human element and the ethics and the morality around what they create more than ever before in my opinion. A new creative artist is out there, a new storyteller. Not just indie filmmakers, we're talking about kids, adults, creatives who are doing film-making things in virtual reality. They're having the hits around the characters so there's a thirst and a demand for technology but it's hard to build. Understanding the bridge between all the different mediums and disciplines, I think new things are created when you combine areas that have not been traditionally aligned. The new creative is somebody who is curious, they're not concerned with what it is that they're going to be making or the media format they're going to be making, they're curious about what story they're going to be telling.  Like it's going to be that. The young kids, they don't have baggage. They look at it with a clean slate and going, I want that. I can see myself using this. I can self-actualize with this. And they're not going to be shackled by artificial constraints, they're not going to be shackled by budgets that stop them, that make them take creative ideas off the table. They're going to pursue what they can do themselves. They're going to leverage technology in unique ways and we're going to see some pretty amazing stuff happen. The future is about having a passionate audience, making things for that audience, understanding it and being able to communicate with them on a daily basis or weekly basis in a powerful way. And the audience is part of the journey. Yes. And the comments and the way in which people are taking the thing that you made and re-interpreting it is really interesting. I think we're going to have a digital hippie revolution. Definitely. A 60s-like movement in this modern era where it could be a major catalyst for massive change. And you're seeing a larger shift into that actuality where we're not quite there yet, where we can talk about the experiences everyday Americans are going to have. What is the real ready player one that we're actually going to have existing? We're not there yet. Pushing experiential, pushing brand content, pushing original content. We're getting a lot more into that game long form series, VR series. The boundaries are really being pushed in entertainment and film. That's always been the case. Commercials have always been a bit of a laggard. They want some stability in what's going on, but the creation that's going on here is absolutely fantastic. The work itself doesn't really mean anything until people get to experience it because the speeds and feeds is the software. Why isn't it going faster? Or is it going faster? One of the key things is the creator tools themselves, right? They are still somewhat cumbersome. If you can collaborate in a real-world space, you should be able to also collaborate in VR and have change control and all those sorts of things that are necessary to the iteration of a project. Automation of the simpler tasks should be a given. You don't want creatives to get hung up on trying to make your cheek look exactly the way it needs to look over 500 frames when you want them to be making bringing the story to life. Give them more time to work on their art, not worry about the scaffolding in the software. That's exactly it. Just even having the ability to flip up the screen and transition from the virtual world to the real world in milliseconds, it allows you to be able to create things more at the speed of thought. Instead of coming up with an idea, coding it, making sure it works, and then eventually putting on the headset, the sooner that we can actually be ideating inside this virtual environment is when things will get really interesting. For me, the thing that's holding back VR in general is actually the art form itself. In the early movies were 10 minute almost like plays that people would go to a almost a playhouse and they'd watch this thing. There were no cuts. There were no angles. It was a single wide shot. Great train robbery came around and it was this crazy thing they did called an edit where they spliced film together. People will have no idea what they're watching. There's no way people will be able to follow that. People were not happy with it at the time. Now it's stuff that children do on their iMacs at home. They do it on their iPhones, on their Android devices. These are normal languages of film that we have. VR doesn't have that yet. It's the really expensive thing that your friend's neighbor has.  So it needs to incorporate itself into our everyday, our habits. One of the trickiest parts of VR is trying to get people to have repeat views. When people who are the mainstream consumer put on a VR headset, it needs to be more than just a magic trick where they go, well, that's cool. That tends to be the vast majority of experiences. So what is the thing that is going to make someone go, oh, I get why we have VR as a medium. And we're not there yet. I always just look at it, though, it's these are tools that empower the creatives to do more. So although it's very cool and exciting to think about technology and tools, it's really, ultimately my goal is like someone who specializes in visual effects software is just to empower creatives to do, you know, whatever they want to tell their stories. The things that do well take cultural context into account and speak to the people in that way. We always look forward to seeing the new works by Indigenous filmmakers that are native to the United States and from around the globe. It's like a feedback loop that it's creating with its own audience. So whether it's issues, whether it's about people, you know, what we're doing, we're all different kinds of people, but we're Indigenous. So I think that's really important that we are changing and correcting the narrative. We're constantly making mistakes, but then learning from them. We need to let it go. And sometimes we're frustrated. We're like, where's the standards? Where's the one ring to rule them all where there's not going to be one? And it's good for us that there's not right now. It's frustrating from a business perspective. Sometimes you're like, I can't, you know, peanut butter myself around, you know, all of these places. But I think it's just a very unique time. The technology is accessible. That means that so many creators can now bring their fresh voice to this space. And it's just going to be fascinating to continue to watch. It's sort of like up to the filmmaker to make sure that they have the scruples that they are playing by the rules because it's heavily regulated right now. But as soon as, you know, there's other means of distributing the content, you know, that it could take a different sort of face. I'm very interested in sort of the democratization of visual effects tools. You don't have to spend a lot of money to access these tools. In the past, getting involved in content creation and making a living at your passion included understanding a lot about the technology that you needed to use. And in some cases, that technology was priced out of your range, especially for folks coming out of school. You're trying to come from a place of an enthusiast into a professional space. That migration has really happened. Cameras started becoming much more affordable. And now the editing tools, things like Media Quasar first are essentially free and as powerful today as Media Quasar was, you know, just a few years ago. But now really it's also distribution. Getting your story out there is easier than ever before with all the social media and the over-the-top platforms.  Not only can we make it and edit it in our laptops, we can put it out and millions of people could watch it. That was the first time that was possible and it was a revolutionary. I think it still is to some degree. Those barriers, which were historical barriers, are gone. It's not so much of a risk to take a chance on being an artist anymore. You can really just sort of say, okay, well, the tools are free. I can shoot a movie with my phone. Let me take the weekend to see if I, you know, I can take this big idea I have and turn it to something special. What I see being the biggest challenge for people now is honestly a lack of knowledge. Right now it seems to be culminating in the hands of a few. And so seeing that being able to port to the hands of the many through discussion and documentation is something we've really been focusing on. Disruption in the form of a new technology and a new medium. While scary to some people is actually the most exciting and fertile time to equalize. Previously it's actually been quite expensive to actually take that first plunge into it. So now by democratizing and bringing price points down, it makes it more accessible. That helps content creators because there's now more of an audience that can now consume that content and the people that can then play with the medium and consume it now have a better reason to do it.  What does that mean to you to be able to react real time and be able to do your creative craft where you are and then be able to share that so readily. It's really democratizing the creation process. People in tech, we kind of get obsessed with things like resolution, frame rate. And these are very important, but it's also good to remember at least for me, I watched some of the best experiences from storytelling when I was a kid, eight years old on a 12 inch screen that was 640 by 480 with scan lines on the VHS. But for me, the story is still resonated and it's important to think of the story first, but obviously it's a dance between the story and the technology. You see very few people really prototyping what is the concept of story as per VR. Stories kind of are driven by characters. So in our world, great characters are characters that are simulated through physics and anatomical simulation to achieve levels of plausibility and reality that previously was maybe only accessible to the very top budgeted productions or the very top VFX studios of the world. I think we're just scratching the surface to empower filmmakers to do more with visual effects truthfully in a lot of ways. People are just learning how to do this kind of thing like I mentioned face replacement or mixing different shots and that kind of thing. They made Kurt Russell, I mean literally, I don't know how they did it, but he looked normal like he looked, you know, probably 40 years ago. And it was like, it was too creepy. It was like, how did they do that? Because it didn't look fake. It didn't look at all. I was like, no, that's what he looked like years ago when he was, you know, 25 or 30. So I don't know how they did it. So that's cool. But then I guess sometimes it's like, you know, a little maybe too much. You just want to make stuff you actually want to watch. How hard is that? You know, the thing where you could just buy the media and expect the results is trickier and trickier. There will always be room for the classics. Sometimes on a rainy day, you just want to curl up and watch a black and white and you don't need it to be fast paced and fancy. That's the nostalgia you're actually seeking because you're human. So I feel like there's a bifurcated movement going on where there will be room for new filmmakers to make classic productions that will entice and enthrall people because that's what we look for. I guess it just depends on the film and it depends on, you know, what the artist is trying to get through. That I guess either way could help. Maybe sometimes you just don't need all that technology. I think contemporary storytelling is so critical. I mean, there's always films that showcase our culture and historically our people in the past. But at Sundance, there's an opportunity to showcase what's happening in modern-day society for Native and Indigenous peoples. With, you know, new forms of media, there's other ways for people to do that where it's more cost-effective for Native storytellers to engage. I don't have to ask for permission anymore. Being a filmmaker or a storyteller, I can just sort of, I'm my own studio. I'm my own distribution channel and that's what's really amazing. We shouldn't look at AI and automation as something to be concerned about. We need to look at it as a tool and it's to say, well, how do I do the last mile? How do I do the last 10% of what I do really good and have all the other stuff kind of taken care of for me? Just a super time to be an artist and an editor and a content creator, a storyteller as we like to say, because the opportunities are really boundless. That's sort of our mission is to inspire your childlike sense of wonder using two mediums that are so meant for each other, which are animation and VR. And the technology is there for you, so it's really interesting to see what happens next. Everybody wants bigger, stronger, better, faster and working with partners like Intel to get those faster processes in there, get faster graphics cards in there so that we can get people more emotionally bought and we can do better textures, we can get more immersion inside the content itself. Very, very quickly someone who's doing technology is going to see what we're doing content-wise and go, well, I can do that better technology-wise and then we're just going to keep leapfrogging. And it's very similar to the phone the same way that we're not at the final stage of the phone. Like, we're at our stage of the phone and no doubt in 30 years people will laugh at us for carrying anything. People are struggling when they go to college, what should I major in?  Some of the most creative and technical brilliance can also come from other disciplines. Almost every single major state school has like an interactive art program now and that wasn't the case like two or three years ago. The education piece is like key is actually going out there to schools and actually letting them experience VR and play with VR because it is a whole new different medium. Learn the language of being a character and having hand controllers so you can play fetch with an alien dog or mirror their actions or they might mirror yours and creating these bonds and these experiences, that sort of fresh perspective is really exciting. Now the world really is the oyster for all the creatives out there. People are clamoring out for modelers, artists, storytellers, story experiences to be able to use that inside their commercial environment to make their businesses more effective but they're not going to have a 360 video production company inside of that commercial organization and it's then leveraging all of the creative here and all the great stuff here which is really going to help the whole world a lot. I totally agree with what Brooke said, you know it's really about the culture and about educating the audience and getting them up to speed. There are some VR experiences that if as soon as they put on the heads like somebody who's never done it before immediately we'll take it off because they'll get nauseated and then there's people like kids who are like jet fighters they've seen everything their worlds are changing and they're like bring it because they're ready for that. Young boys and girls would actually bring their parents back to the experience and say this is what I want to study in college this is what I want to do and seeing that level of interest from that age group was very sort of affirming to us that we're on the right track in terms of the next generation of story time. Entertainment is great right and that's really pushing the envelope and allowing us to then take it for the good of humankind. The companies are embracing it for training but when you start seeing the healthcare implications MRI scans inside of VR or AR talking a patient through it so they can actually see exactly what you're talking about you're now no longer pointing at flat things on a screen you're now actually taking them through it that's affecting you deeply emotionally. If you can make that for good and change somebody's trigger points inside of PTSD and the autism side of helping somebody in interview techniques to be able to be more self-sufficient it's absolutely awesome. What would you say to that person to motivate them and to give them that passion? It's the same advice I used to give to game makers when people would be like well I want to learn how to make games it's like go to YouTube download a thing and go do it there's literally no reason why you can't. Are there meetups there's like the homebrew computer club that's there are there are infinite groups of VR people who are more than happy to give you all the terrible and wonderful opinions that come with that. In experiment break things that's really the only way to learn I would say watch as much VR as you can because sometimes bad VR is the best VR because you can learn don't do that and if you if you learn if you put all that together then you can really you know it's like this lexicon that you can really follow. If we work together collaborate truly open our minds and as cliche as it sounds our hearts to it then I think it only adds to the art into the storytelling. If the people from Hollywood are willing to learn from the people who do gaming in Silicon Valley who are open to learning from the people in New York who grew up on live theater finding those beautiful intersections are where we're going to thrive. You guys highlight that multi-disciplinary thing but also highlights why diversity is so important diversity brings the most perspectives of the table the most data most contribution it might be a little bit longer to work through the arguments right I mean you gotta be patient. It's up to the institutions to change and to allow for our storytelling but it's also up to the audiences to demand these types of diverse stories. There's a lot more diversity than there used to be it's a lot more and so it's fun to have things like black house and just walk down the street and see many more men and women of color and a bigger LGBTQ presence and it's just it's just great. We're coming back here with a purpose really not just here to be seen we're really here with real things and want to have real conversations on how tech can enable what people are doing not really you know not just from a brand perspective but from from a real hands-on. Anyone who's come here and has felt sort of cast out or wanting to see more opportunities a little more that open era concert venue type stuff that they do in warmer places like Las Vegas you know that could kind of get the excitement going and sort of hue in on some of the scheduling a little bit of that exclusivity is going a little too far you know. Let's keep Sundance focused on these young writers and film producers and let's focus on that that's what I would prefer. I think Sundance is doing the best that they can in a time in this country where we're all feeling a little angst and a little kind of beaten down to see some of the good art and work that is happening kind of gives you hope so that's one of the things that I look forward to with Sundance. It's a very nice audience and this will continue the momentum for for future festivals throughout the year but also you know will excite people that have never done VR before people who have never been to Sundance before we're seeing that there's a lot of new people and that will you know continue to influence you know many years to come. Props to you know the man himself Bob Redford and you know his whole team for allowing this to happen and it's kind of magical what happens here. The parties are great and this skiing is good too but definitely take advantage of all these unique opportunities that Sundance offers. We are here to support the storytelling, support their mission and support their goals. I finally got a producer from my film so I'm juiced and we hope to be filming later this year. I wrote a screenplay this last year and so hopefully it'll be here someday. You guys are reimagining the future and building it same time so entrepreneurially and also with content and technology so thanks so much for sharing on this panel of new creative. This is what it's all about, sounds of Sundance, democratization not elitism that is the theme here this week we're exploring that topic on the CUBE special coverage Sundance 2018. Really showing creative developers a new way to reimagine storytelling. Thanks for watching.


فشرف بل اشتغالي بالعلم ولا تبغي به ما عشت يا دا دا دا لا وياله من شراف عظيم الحمد لله رب العالمين له الحمد الحسن والثناء الجميل وأشد أن لا إله إلا الله وحده لا شريك له يقول الحق وهو يهدي السبيل وأشد أن سيدنا ونبينا محمد صلى الله عليه وعلى آله وأصحابه والتابعين لهم بإحسان إلى يوم الدين أما بعد بإذن الله الكريم today we're going to be starting the explanation of the book الأجرمية أجرمية is a grammar book I will speak a bit about the author in a very summarized abridged manner but the explanation that we're going to be relying on that we're going to make it our عدة is تحفة السنية written by محمد محيدير عبد الحميد this is the sharah and the explanation we're going to rely on it's called تحفة السنية الشرح المقدمة الأجرمية and it is written by محمد محيدير عبد الحميد that's the sharah that we're going to use as you can all see we have a board here so I'm going to be standing up sometimes when I feel that there is a need for us to explain things on the board if I need to go up and stand up and mention points I will be إذن الله الكريم and I'll try my best to make my writing as clear as possible بإذن الله الكريم as you all know and you're all aware of any field that you study the scholars they say that there are 10 points that you have to know they refer to this as مبادئ العشرة which is basically it's like a مقدمة it's an introduction an overview of that particular field that you're going to study so what we need to do is we need to ask ourselves a couple of questions before we go into نهو قرامة such as what's the meaning of قرامة what does نهو actually mean so the first one I wrote is تعريفه what's its definition also موضوعه what does it tackle what's the topics that are in it okay ثماراته what's the benefits of us studying this what benefit do we gain from studying قرامة because there's no point in studying something if you're not going to get a benefit from it نسبته نسبته here means where does it lie in other sciences واضعه who's the person who placed and laid down this science قرامة حكم الشارع فيه what's the ruling of studying قرامة is it obligatory is it recommended what is the ruling of studying قرامة and the scholars they summarize that all in a line three lines of poetry they say إن مبادئ كل فن عشره الحد والموضوع ثم تمراه ونسبة وفضله والواضع ورسمه الاستمداد الحكم الشارع مسائل والبعض بالبعض اكتفا ومن در الجميع حاز الشرفة so they إن شاء الله وطعالا I'm going to بإذن الله الكريم سنذهب to the first one which is the definition of the word نحو have you guys heard that word before نحو so in Arabic they call it نحو what's the definition of the word نحو in the Arabic language in the lexical meaning in the linguistic meaning the word نحو has many meanings one of its meanings is جيها direction جيها for example you will say the have to I went نحو فلانين in the direction of so and so اي جيهته ام جيهته so what do you say you say the have to I went نحو فلانين اي جيهته I went to the direction of so and so that direction that's one meaning that it has in the lexical meaning the second meaning that it has is اشيب اشيب هو والمثل when something resembles something and it looks like something for example you will say محمد نحو علي محمد is like علي اي شيب هو ومثل هو he resembles him so those are the meanings that it means in the language now we've understood what the word نحو so if I asked you now what does نحو mean you will say to me 2 meanings that we've taken what was the first meaning that we took اي ميز and جيهه direction the second meaning that we said it has is called what what's the second meaning that we said it has اشيب هو والمثل when something resembles something it looks like good so those are the 2 now we're going to go into what does it mean according to the grammarians the people of this field of grammar when they use the word نحو what is it that they mean and what's their usage of this word the علماء the scholars of grammar when they use the word نحو they mean by it العلم بالقواعد التي يعرف بها احكام واخير الكلمات العربية في حال تركيبها من الإعراب والبناء وما يتبع ذلك it's principles that the science is what it's علقواعد through those principles so it's principles and within those principles that you're learning and that you're telling you're learning the rulings of the ending of the word in the Arabic language when it's put into a context such as when it's معرب when it's مبني and anything that follows that that's what grammar means that's what نحو means according to grammar so it's principles and through those principles you're learning the rulings of the ending of the word which words the Arabic words when they're put in a context so for example brothers this is a way together so are you learning principles you can memorize the principle for example is فعيل is فعيل is صقائدة المسؤول المسؤول به is صقائدة these principles that you're learning these قواعد that you're learning is when it's the ruling of the ending of the word احكاموا اواخر الكلمات العربية you're learning the ending of the word in other words غراما does not deal with the middle of the word صح it doesn't deal with the middle of the word so the word the grammar is don't look at the yet and they don't look at the that's not their focus point what they focus on is at the ending the sign that's on it that's their focus point when though when زيد is by itself somewhere and it's not in a context they only speak about the word when it is what when it's in a context when it's in a sentence when it's in a context there's something before it and there's something after it pay attention to that because زيد what just happened to the right now what just happened it's وقف I can't say anything after that so because it's وقف you haven't placed a sign of the ending of the word but if I say زيد are we all together the minute I put the word زيد came now the grammar will come and they will intervene they would want to know what's زيد what's زيد ruling right now what's the ruling of زيد right now are we all together pay attention and then he gives you the grammar from إعراب when it's in إعراب the signs that it has and بينا when it's مبلي the grammar is they deal with those two إعراب and بينا now you don't know what they mean you shouldn't be busy yourself to find out what they mean because we're going to come to what إعراب means and we're going to come to what بينا means good so that's the definition of نحو we've defined what نحو means we're now going to move on to the next part which is الموضوع okay it means what does this topic deal with نحو it deals with الكلمات العربية it deals with the Arabic words it doesn't deal with English it doesn't deal with French it doesn't deal with Urdu it doesn't deal with Somali it deals with the Arabic words that's what it does that's the underlining thing that it discusses all day all day you're studying كلمات العربية كلمات العربية and you're researching that and you're researching its situation and its ins and its outs that's what you're learning the next point that we're looking at which is موضوع then the second one is الثامرة الثامرة means what the benefits and the outcome and this is something I really have to I really have to get some light on which is if you're studying a science and that science that you're studying and that you're learning you're not getting from it and you're not attaining from that science any benefit then it's a waste of time and it is not a science any science that does not bring about any benefit for you it's not a knowledge وتعالى love's and he's pleased with it. أبل رجب mentions that in his كتاب فضل علم السلف يعالى علم الخلف. ألمام مشرفعي we said I looked at all of knowledge. ألمام مشرفعي said this. شرفعي said I looked at all of knowledge. I've observed each one. not that he said he studied all of it. but he looked at every science there is out there. And he said I realized that two sciences are the best. طب العبداني medicine and the second one is طب النفس the spiritual and the physical medicine. طب العبداني the one he means by the physical he means the actual medicine that people study. And the second one is طب النفس means what? الكتاب والسنة وبما عليه سلف الأمة. The Quran and the sunnah which the pious predecessors were upon. And he said I looked at both of them again. And he said I realized that the طب النفس is better than even the طب العبدان. Because the benefits of this world and the hereafter are connected to this. So after the شريعة what's the best science? After we leave the شريعة and the knowledge of the شريعة. We'll say medicine is the best knowledge. Medicine is the best. And a person studies. So there has to be a benefit in a science that you're learning. Sometimes you see a sister going to university. She's taking a student loan and she's learning what? Art or a brother. He's learning art in university. Really. So some people are learning things that are very very very pathetic. They go to uni and they're learning what? Drama. For three years this is what you're going to be doing. You're going to be taking this amount of money. You're going to the river. All of this. For what? So the science and the knowledge which you're learning has to have طبرة. طبرة means food and the outcome that you need to attain from it. It's important. That's what the علامة always talk about.  To allow you to come into that science properly. They'll tell you the طبرة and the benefits that are in it. What's the benefit in studying a grammar? The benefit is صيانة اللي سالة عن الخطأ في الكلام العربي. You protect your tongue from the mistakes that may occur from somebody while they are trying to speak in the Arabic language. You will not say mistakes and incorrect statements in the Arabic language. Once you study a grammar, your speech إن شاء الله تعالى will be correct. You will know when to place a فتحة على كسرة على ضم ما. You will know. So you won't get it wrong. And this is very important because the Qur'an is in what language? It's in the Arabic language. And the Qur'an goes according to the Arabic grammar. The Qur'an goes in accordance to the what? The Arabic? It goes in accordance to the Arabic grammar. So if a person doesn't know the Arabic grammar and has no knowledge or understanding of it. He will most likely read the Qur'an incorrectly. And he doesn't know who he prohibited from those who don't know the language properly and are not good in the grammar. He prohibited them from what? From teaching the Qur'an or even leading the people. Or not prohibited them from it. Because there's ayat in the Qur'an that the signs have been changed and the meaning will change with it. For example, if you get wrong إنما يخش الله من عباده العلماء. If you say إنما يخش الله من عباده العلماء. You're now saying Allah fears the scholars. Where it should have been what? The scholars are the ones who are most fearing of Allah سبحانه وتعالى. But just by changing a fatah to a dhamma. You've changed the whole meaning of the verse. And you've given it a whole different meaning. And that mistake here is actually a mistake that has changed the meaning into a severe meaning. A very problematic. عقدي. عقيدا related problem. That you've now given the attributes of the creation to the Creator. And you've given the attributes of the creation to the Creator. Are you with me brothers and sisters? So it's important. And also the علماء mention even زينو دين العراقي. Who brings it in his الفية. And many have also brought it in the books of مصطلح الحديث. That the person who reads the Hadith of the Prophet ﷺ. And he reads it wrong. Because he grammatically doesn't know the Arabic language very well. So he reads the Arabic of the Hadith of the Prophet ﷺ. And he messes up the Qasr and the Fatah and the dhamma. He messes it all up. This person will fall under the Hadith of the Prophet ﷺ. Anyone who lies about me deliberately. Let him prepare his place in the Hellfire. He will fall under that Hadith. That person will fall under that Hadith. Which person? The one who read a Hadith grammatically wrong. Why? Why would he fall under that Hadith? The reason why he will fall under that Hadith is because. What you're saying is that the Prophet ﷺ was ignorant in the grammar just like how I am. And that the Prophet ﷺ said it just like how I am saying it. And you're saying about him that which he didn't say. The Prophet ﷺ didn't do the Qasr and the Fatah mistakes like this. So it's very dangerous. Very very dangerous. So a person needs to learn the Arabic grammar. وفهم القرآن الكريم والحديث النبوي صحفهم صحيحة. Also understanding the Qur'an. And also understanding the prophetic tradition. The Hadith of the Prophet ﷺ. If you want to understand it properly. You will need to know grammar. You will need to. And these are what brothers. The Qur'an and the Sunnah are what to us. اللذي ليهما أصو الشريعة الإسلامية وعليهما مداروها. And the whole religion revolves around the Kitab and the Sunnah. And they are both in the Arabic language. And I say this to the brothers all the time. And I say to those who I see Arabic language is not the language of the Arabs. It's the language of every Muslim. When somebody asks you and says to you what's your first language. Your first language is Arabic. Because the Arabic language is what the Qur'an came down. The Arabic language has become the language of every Muslim. Wherever he is from the world. You need to understand that. Now we're going to move on to the next one. Which is نسبة الهو. نسبة الهو. نسبة الهو here is what? Where does this science fall? Grammar where would you find it? Grammar falls under علوم العربية. It falls under one of the 12 sciences that are studied in the Arabic language. The Arabic language when you want to study it. There are 12 sciences that you have to study to learn the Arabic language. One of the 12 is Arabic grammar. There's morphology. There's Arabic literature. There's poetry. There is a ... There's بلاضة الهو. Which is categorized into 3. There's روض القوافي. There is صرف. There is أدب. أدب الوغة. All of these are one of the 12 sciences of the Arabic language. And grammar is one of them. هذا ما يجد فيه. هذا الشاب that you will throw grammar in. So it will fall under the heading of what? The Arabic sciences. The Arabic sciences. The Arabic sciences. Grammar will fall under there. There are 12 sciences. And grammar is one of them. Rather, the Arabic grammar is the greatest and the highest ranked in Arabic. It's the highest ranked. From those 12 sciences that fall under the science of Arabic, the greatest of them and the highest of them is which one? نحو. Grammar is. You need to know that. Now we're going to move on to the وضعه. وضعه means who is a person who plays this science. Who put this science together. Okay. What is famous and well known that the first person who put this science grammar together is none other than أبو أسود الدوألي. أبو أسود الدوألي ورحمه الله. And they say he did this with the command of who? عليب عبيطالبن. That عليب عبيطالبن commanded him specifically to write grammar. When Ali saw that the people were doing mistakes, he told him not. He told him to write grammar. Now pay attention here because this is very important information here. The name of the word نحو it was said that it came even from عليب عبيطالبن. The word نحو. Grammar. That word نحو. They said he was the one who used that word. How did he use it? What he did was عليب عبيطالبن. He told أبو أسود الدوألي. He told أبو أسود الدوألي. He said right that the speech is categorized into three. اسم فعل حرف. He said right that it's categorized into three. And then when he showed him the way to start and gave him an idea, Ali said to him after that and tread on that path. Meaning ونحي على هذا النحو. على هذا النحو means go towards that direction.  And that term got taken from Ali's mouth. And it became the name for this particular science. We're going to mention the last type of the مبادي العشرة which is حقب الشارع فيه. What's the ruling of studying grammar? Is it obligatory? Is it voluntary? Is it disliked? Is it حرام? The ruling in studying grammar is that it is فرب من فرود الكفاية. That it is a communal obligation. It's a communal obligation. A communal obligation means that within the community there have to be people who study it. So when there's two types of obligation, right? There's that individual obligation and there's that communal obligation. The individual obligation means that every single individual has to do it independently. And they have to do it. You need to pray ذور. You need to pray عصر. You need to pray مغرب. You need to pray عشرة. You need to pray فجر. No one can pray for you. But صلاة الجنازة on the other hand is a communal obligation. Meaning as long as there is a group of people who are praying, you don't have to pray.  Are we all together? So grammar is a communal obligation. It's a what? It's a communal obligation. Meaning there has to be a group of people who study it. We've now finished the مبادل عشرة some of them we've mentioned. We've mentioned six that we wanted to know from it. Who's the author of this particular book? This Kitab that we have which is أل جربية that we always talk about and you see on billboards and it's being pushed. Who is the author of this book? The author of this book and the مصنف is أبو عبد الله محمد ابنو محمد ابنو داود أصن هاجييو His name is again أبو عبد الله that's his Kunya. His name is محمد and his father's name is محمد. His granddad's name is داود and he's from the لينج أصن هاجييي. And he's very well known as ببنو عجر روم. He's very well known as ببنو عجر روم. عجر روم is what is known is what is known very well as. He was born when the year was إثنتيني وسبعينة وستمئة 672 672 and he died ثلاثم وعشرينة وسبعمائة من الهجرة النبوية 723 he died. He died 723 رحمه الله تعالى The scholars they say not much is known about him not much is known about him. He's a very he's from those scholars we can say whose biography is unknown. There are many scholars like that whose books and their works have become مقبول لدن نس accepted by the people but they the authors are not known. And this is the ثمارة وإخلاص that they truly just wanted the people to benefit from the knowledge and the good. They didn't really want anything to be attributed to them and they didn't want people to know who they were. It was said about Imam Shafi'u that he said the same. He said I wish that the people attain and gain knowledge but nothing was attributed to me. Nothing is attributed to me Shafi'u. So they said they really really love the idea of people benefiting and taking beneficial knowledge but this the harm that comes with it which is fame and is something they didn't like. So he رحمه الله not much is known about him. We're now going to start the book إن شاء الله وتعالى The author رحمه الله he says الكلامه هو لفضه المركب المفيد الملوضعي The author started by talking about الكلام الكلام في العربية لانج is what? Speech he says الكلامه Speech is The word كلام I'm going to go more in details this lesson إن شاء الله وتعالى As I said when we rely on a shalah by Muhammad Muhriدي and Abdul Hamid The word كلام it has two meanings One is a linguistic and a lexical meaning And the second one is what? A technical meaning And when we say lexical meaning we mean according to the Arabic language And the second one is that the word كلام has a what? It has a It has a what? It has a definition according to the grammarians So the first one is in accordance to the Arabic language And the second one is according to the grammar the grammarians


We hope to solicit funds throughout Eastern Kentucky to state and the United States in helping to defray the cost of not only moving the statute, but what the statute will cost to even purchase.


Many people from around the world have now, fortunately, been presented with, and hopefully convinced enough thanks to platforms such as YouTube, particularly Egyptian constructional revisionists, to now realize that there are many, as yet unexplained feats of ancient engineering, which literally drenches these magnificent structures, and it's equally mysterious sandstone plateau below. But we further expose many other indicative features, which were seemingly impossible feats of ancient engineering, which we hope has helped a lot of people to realize that there are many fallacies in historical doctrine, many gaps in academic and curricular understandings. Many things dismissed with flaky strategies and theories which have, again and again, thanks to modern computer engines, been proven as impossible maneuvers. It seems many people, and a considerable amount of money, goes into keeping a stranglehold over the pyramid's possible origins and original function, inevitably shrouding these structures in a veil of secrecy. In addition to the original pyramid blocks and the enormous megalithic exoskeleton visible in a few obscure areas of the pyramid's lower regions, we have also in the past put forward the hypothesis that due to the advanced nature of many of the pyramid's casing stones and the drastic differences in ages they appear to be, all made with the same type of rock, thus to display such drastically different levels of erosion, is undeniably evidence of them being installed at many different times. Yet although claimed as being built within known history, no documentation of the installation of the blocks, or indeed any explanation as to how these pyramids were built, all remain elusive. Several different styles were put upon these monuments, we feel, at vastly different times within antiquity. We posit that they are clear proofs of a number of past civilizations' conservation efforts, but due to these compelling and visible proofs, one has to consider that the great pyramid's origins are vastly more prehistoric than could ever be publicly accepted, and due to these features having seemingly survived due to what we suspect was a number of considerable efforts to shield them from the environment by a number of different, extremely ancient, yet all highly capable, yet now lost civilizations, which we have identified in previous work as that of the Cyclopean civilization and the Polygonal civilization. I digress. Many of you who have donated towards the channel and to reserve a book may be wondering when the channel's accompanying books will be published. However, I assure you, mystery history intends to go in-depth regarding his and other findings surrounding not only the ancient pyramids, but also the many other compelling, seemingly impossible ancient legacies found throughout Giza's Plateau and many museums and many other controversial sleuth-gathered factors from throughout antiquity, creating the type of evidence-driven, visually illustrated, examinational content in which the books will be exclusively focused upon. All of these factors are reasons why the books will not be written hastily, as my knowledge grows, so does my understanding of what makes ancient ruins so enigmatic, and I believe the larger my research, the better the go-to guides will eventually be. I just wanted to reassure you that mystery history has not forgotten about any of you. Returning to our opening statement, however, many are now aware that there does not exist a valid explanation for the construction of the pyramids. Even if one had unlimited slaves, it is not a case of muscle, but rather a lack of space in which to utilize such. Yet what many who have not explored Giza and the surrounding connected ruins on foot are often oblivious of the astonishing array of ancient temples, clearly dating from the pyramid builders not only lost for eons in the sand of the Sahara, but has preserved some in astonishing conditions. Ancient Egypt, its great pyramids, its eight-sided chiops, its incredibly well-preserved, once long engulfed temples, and the inexplicable stonework of ancient Egypt is but one of many areas from a world of ruins which we not only intend to unravel as much as possible, but it is an investigational struggle which we find highly compelling. Fort Ransom is a small place within the state of North Dakota, USA, that may hold an enormous, yet quietly held secret. In this small slice of the rural farming lands of the United States, lies a place known as Pyramid Hill, a small, modest pyramidal mound which is very similar in shape and size to the curious pyramidal mound found in other parts of the world, such as Silbury Hill, a chalk pyramid within the UK. Long argued by a number of funded geologists as a mere natural formation, however, local residents, along with historical accounts within the area, have strongly disagreed with these conclusions, since their predictable acceptance by the academic community. A vast portion of the surrounding population believe, including a number of specialist historians and archaeologists, that Pyramid Hill is in fact that of a man-made pyramid. What's more, they hold to the belief that it is the oldest pyramidal structure on Earth. What makes this site the most interesting we feel, however, and the reason for this video is the writing stone which was found nearby some centuries ago. Clearly very ancient cup and ring marks, and constructed to form some kind of communication, they have, however, remained undicipered, they are incredibly intriguing, and are reminiscent of a hybrid between music and Morse code, yet all attempts to establish a translation of the pattern have been unsuccessful. Located in the Cheyenne River Valley, in southeastern North Dakota, pitted mysteriously cup and ring marked boulders appear in Saskatchewan, South Dakota, Iowa, and many other sites all over the world. Just who created them remains a mystery. Was the writing stone left by the original builders of Pyramid Hill? If so, why is it an unknown language? Who wrote it? Is Pyramid Hill really the oldest pyramid on Earth? Built by an unknown culture who clearly spoke and wrote a highly complex and as yet undecipherable language? Perhaps one day we will find out the truth. There are many ancient monuments found all over the Earth which possess extraordinarily precise solar and lunar alignments. Ingenious designs, often many thousands of years old, constructed from stones sometimes quarried, cut, and transported to the sites from many miles away. This movement of megaliths was accomplished using techniques or technology as yet not understood, and to date, many of these megalithic stone placements are perceived as near-impossible feats of ancient engineering. Not although many impressive examples of monuments which track the sun can be found to have originated from many different civilizations. The most notable of antiquity, most famous for a seemingly obsessive level of monuments devoted to the observing of the sun's path, was undoubtedly the Neolithic. One has to wonder, why was there such a fixation? Was the motivation for this massive undertakings of a tragic nature? Was it out of fear? We are created by a memory of a catastrophic event, possibly involving the sun's powerful emittance of radiation. Maybe they experience the consequences of an ancient warming cycle. We may never know, yet the most important question in our field is not why these volumes of solar-aligned relics were created, but how? How did our ancient ancestors, claimed as having existed over 10,000 years ago, construct such precisely positioned granges, hinges, barrows, and sun daggers? Something we have previously covered, an incredible type of sundial which tracked a sunspot across the wall of an ancient cave with each month, solstice, and new year precisely marked out across the walls. Yet the sundials in question in this video are a group of far more familiarly designed dials left by the Neolithic. These sun-tracking dials can be found across the Neolithic sites of Ireland, Scotland, Orkney, and England. First discovered by an American by the name of Martin Brennan, a 39-year-old from New York. Not only did he discover the true function of curb stones located in Noth, codename K7 K15 among others. He also cracked the earliest form of writing while studying the Irish Stone Age artwork. After this year, a theory emerged on the internet by writer and journalist Ben Gagna. He suggested that there was an image of a swan on Curbstone 15 at Noth. He claimed that while examining a photo he had taken of K15, he flipped it upside down and saw something no one had ever seen before, the faint but unmistakable image of a swan in profile. The true meaning or purpose of the curb stones had for a long time been heavily debated within certain circles. The intriguing cup and ring marks had been known of for some time. Yet as previously mentioned, though the most popular theory of the design on K15 was the claim that it was the depiction of a swan glyph, this hypothesis was rejected even before Martin's unarguably accurate translation was discovered. Martin identified the sundial while examining a passage mount in the Boyne Valley, and although sundials thousands of years old have been excavated throughout Europe, many specialist individuals reviewing Martin's finds believe that the sundial discovered in County Meath is the oldest and possibly most important ever found. According to Martin, who has been studying megalithic Irish art for the last ten years, Ireland's megalithic tombs are suffering from appalling neglect. Some of the most important passage mounds excavated previously have been ignored or conveniently completely sealed up. Martin's discoveries are undoubtedly remarkable and are of tremendous value to our ongoing deciphering of ancient antiquity and its past civilizations. It is a journey of discovery we find highly compelling.


The U.S. Empire's ultimate target is not Russia but China. The Pentagon has produced its latest national defense strategy, NDS, a report made every four years to provide the public and government with a broad overview of the U.S. war machine's planning, posture, developments, and areas of focus. You might assume, with all the aggressive brinkmanship between Moscow and the U.S. Our alliance this year that Russia would feature as enemy number one in the 2022 NDS. But you would be assuming incorrectly. The U.S. quote, defense department reserves that slot for the same nation that's occupied it for many years now. China. Anti-war is Dave DeKamp writes the following quote. The full NDS is still classified but the Pentagon released a fact sheet on the document that says it will act urgently to sustain and strengthen deterrence with the People's Republic of China, PRC, as our most consequential strategic competitor and the pacing challenge for the department. The fact sheet outlines four priorities for the Pentagon, one, defend the homeland, paced to the growing multi-domain threat posed by the PRC, two, deterring strategic attacks against the United States, allies, and partners, three, deterring aggression while being prepared to prevail in conflict when necessary, prioritizing the PRC challenge in the Indo-Pacific, then the Russia challenge in Europe, four, building a resilient joint force and defense ecosystem, end quote. The Pentagon says that while China is the focus, Russia poses acute threats because of its invasion of Ukraine, DeKamp writes, showing the Empire's view of Moscow as a second tier enemy. Ahead of a meeting with China's Foreign Minister Wang Yi, Russian Foreign Minister Sergei Lavrov have made some comments which clearly illustrate the US centralized Empire's actual problem with Moscow. We, together with you and with our sympathizers, will move toward a multi-polar, just, democratic world order. Lavrov said to the Chinese government on Wednesday. And that right there, ladies and gentlemen, is the real reason we've been hearing so much hysterical shrieking about Russia these last five or six years. It's never been about Russian hackers, nor about a Kremlin-PP tape, nor about Trump Tower, nor about GRU bounties in Afghanistan, nor about Manafort, Flynn, Benin, Papadopoulos, or any other Russia Gates surname of the week. It's not even actually about Ukraine. Those have all been narrative-shaping constructs manipulated by the US intelligence cartel to manufacture support for a final showdown against Russia and China to prevent the emergence of a multi-polar world. The US government has had a policy in place since the fall of the Soviet Union to prevent the rise of any powers which could challenge its imperial agendas for the world. During the First Cold War, the strategy promoted by empire managers like Henry Kissinger was to court China out of necessity to pull it away from the USSR, which was when we saw business ties between China and the US lead to immense profits for certain individuals in both nations and the influx of wealth which now has China on track to surpass the US as an economic superpower. Once the USSR ended, so too did the need to remain on friendly terms with China. In subsequent decades saw a sharp pivot into a much more adversarial relationship with Beijing. In what history may one day view as the US Empire's greatest strategic blunder, empire managers forecasted the acquisition of post-Soviet Russia as an imperial lackey state which could be weaponized against the new enemy number one, China. Instead, the exact opposite happened. Former Secretary of State Hillary Clinton told the Bloomberg New Economy Forum last year that she'd, quote, heard for years that Russia would become more willing to move toward the West, more willing to engage in a positive way with Europe, the UK, the US, because of problems on its border, because of the rise of China, quote. But that's not what occurred. We haven't seen that, Clinton said. Instead, what we've seen is a concerted effort by Putin maybe to hug China more. The Empire's expectation that Moscow would come groveling to the imperial throne on its own meant that no real effort was expended trying to establish goodwill and win over its friendship. NATO just kept on expanding, and the Empire got increasingly aggressive and belligerent in its games of global conquest. This error has led to the strategist's ultimate nightmare of having to fight for global domination against two separate powers at once, because Empire architects incorrectly predicted that Moscow would end up fearing Beijing more than it fears Washington. The tandem between China's economic power and Russia's military power that experts have been pointing to for years has only gotten more and more intimate. And now here we are with Russian and Chinese officials openly discussing their plans to create a multipolar world, while Chinese pundits cracked jokes about the US Empire's transparent ploys to turn Beijing against Moscow over the Ukraine invasion. And there's a tweet with CGTN's Lu Jin, labeled by Twitter China's state-affiliated media. Can you help me fight your friend so that I can concentrate on fighting you later? On the Empire's grand chessboard, Russia is the queen piece, but China is the king. Just as with chess, it helps to take out your opponent's strongest piece to more easily pursue checkmate. The US Empire would be well advised to try and topple China's nuclear superpower friend and, as Consortium News editor-in-chief Joe Lauria recently put it, ultimately restore a Yeltsin-like puppet to Moscow. Basically all we're looking at in the major international news stories of our time is the rise of a multipolar world crashing headlong into an Empire which has espoused the belief that unipolar domination must be retained at all cost, even if it means flirting with the possibility of a very fast and radioactive Third World War. This is the Hail Mary Pass of the US hegemon. It's last-ditch effort to secure control before forever losing any chance at it. Many anti-imperialist pundits I read regularly seem quite confident that this effort will fail, while I personally think those forecasts may be a bit premature. The way the chess pieces are moving it definitely does look like there's a plan in place, and I don't think they'd be orchestrating that plan if they didn't believe it had a chance to succeed. One thing that does seem clear is that the only way the Empire has any chance of stopping the rise of China is by maneuvers that will be both highly disruptive and existentially dangerous for the entire world. If you think things are crazy now, just you wait until the imperial crosshairs move to Beijing.