Thank you. I think that Alistair's paper on my own will fit together rather nicely. I want to congratulate the authors of the catalogue. This is too loud. It's okay. It's an amazing achievement, and I so enjoyed reading it. And I'm also very much looking forward to the next two days to listen to people talk about Matisse in a very intensive way. I think he certainly deserves that. And I'm just looking forward to it with pleasure. Thank you also to the organizers of the symposium. It's been a very easy passage, and I'll just get started right away here. Oh, they didn't give me the backup. Okay. Well, it's okay. How can we understand Matisse's pictorial poetics in the 1910s? I want to begin to answer that question by looking at his studio interiors. The pictures I'm considering were painted in Paris and Nice between 1914 and about 1921. And I'm particularly interested in connecting the two periods, as Dominique Fourcade did long ago, when he wrote that in the Matisse, sorry, in the Nice paintings, where the product of mental operations started before Matisse settled there. These studios that you see on the screen, on the top, Paris, on the bottom, Nice, are rooms with windows that open onto the city or the sea. In Paris, the pictures were painted in the artist's studio, on the K. Semi-Show, in 1914 and 1916. In Nice, they were created at the Hotel Beau-Rivage and the Hotel de la Mediterrané between 1917 and 1921. The first of those hotels was a more modest middle-class tourist hotel, where he stayed the first year and the second was grander, with larger, more elaborately decorated rooms, where he stayed for three successive seasons. Matisse was working out a new manner of painting in the mid and later 1910s, and this involved the transformation of his earlier approach to the studio interior in pictures like the Red Studio on the left of 1911 and the studio with sculpture of 1912 on the right. The number and legibility of imported repetitions of the artist's own works in these earlier interiors, and I think you can see examples of them all over those two images, are muted in the later ones, although self-reference certainly still plays a part. The later studio interiors are less freighted with quotations of pre-existing works and often present a more provisional studio space and arrangement. This speaks to Matisse's struggles in this period. Most scholars have registered the turmoil and disturbance he experienced during the war and just after. Hilary Spirling has given us a dense account of it. As he worked towards something new in his art and sought a position vis-à-vis his own past work, the work of his rivals, and the emergent avant-garde. There were also persistent complications of family relations with the art market, especially once Matisse pursued work in Nice that was seen as more naturalistic. The artist remains a presence in these pictures, however, if only by implication, phantom-like appearance, or staged disappearance. So there are connections in contrast to be drawn between the Paris and Nice studio interiors I'm considering. They all share the box-like interior of the artist's room, usually presented with multiple angles of view like a three-sided box whose sides are gently bent outward, registering the movement of the artist's head as he takes in the space from different angles. Generally they include windows, sometimes with curtains or shutters, railings or balconies that offer a view of the Parisian cityscape or the Mediterranean. The outside world makes a brief appearance through these windows with sketchy descriptions of modern life. Traffic and pedestrians in the street or on the promenade are rendered in a shorthand that recalls impressionism and fovism, as in Monet's Parisian boulevard from 1873 on the upper left and Derran's view of Collier from 1905 on the lower left. The Matisse pictures on the right are his interior with goldfish of 1914 painted in Paris at the top and interior with violin case of 1918-19 painted in Nice at the bottom and those are the two pictures I'm going to concentrate on most. And a detail of those four pictures. At top right the tiny, silhouetted figures move with the traffic along the Seine in Paris. At the bottom, I'm talking about Matisse's pictures on the right, at the bottom the schematic strollers are precisely placed between the balustrades and along the top of the railing. These are the bare traces of the external world that will eventually be swept away by the extreme artifice of the Otelisques painted in Nice in pictures where the windows had been expelled. I think we went through, we went forward. That's correct, sorry. The studio interiors share attention to the everyday furnishings of the artist's room. Tables and chairs, wallpaper, flooring and curtains and often in a way of more charged objects and figures identified with the studio, such as models, canvases on the easel, brushes and pallets and sketchbooks. Goldfish bowls, violins in their cases, mirrors in the artist himself. Matisse's Paris interiors tend toward geometric simplification and condensation of form. The Nice pictures respond to the special quality of light of the Mediterranean with an all over luminosity and the objects and figures in them are often more legible and arranged in a more open, fluid and expansive space. Matisse himself spoke of the importance of a distinct quality of light in each location as essential to his work. Let me begin with four important paintings created in the Paris Atelier. Interior with goldfish on the upper left, 1914, you've seen it before. Goldfish and pallet next to it from 1914. Studio K. Sammichel on the bottom on the left, 1916, and the painter in his studio on the right, bottom, 1916, 17. These painted rooms began as real spaces, the artist's working studio in a rented apartment on the K. Sammichel that are transformed by him into spaces of vision, imagination and painterly process. They suggest a drama that unfolds as the artist's room becomes strange through simplification, distortion, the interplay of objects and figures and the layering of color and space. In Paris, Matisse was working in a very familiar place. He had had a studio in the K. Sammichel for more than a decade earlier in his career. Interior with goldfish introduces us to a central motif of his art in the 1910s, a residue of his trip to Morocco, the goldfish bowl.  Through the window is a view across the river where we see parts of the building's bridge, pedestrians and traffic and the stairs down to the river. Matisse spoke of the distinctive light in this room as warmed by the reflection of the sun on the wall's opposite. The exceedingly long fronds of the tiny budding plant reach out as if through the window into the distant space across the river, confusing foreground and background a la Cezanne and suggesting continuity between the artist's room and the city. Orange-gold reflections of the goldfish are cast over the couch and its pillows, the side of sessions with the model. To the right of the table, the window girl work appears as incomplete black tracery. Matisse has covered it with solid blue under the table and the thick horizontal of the dark orange railing also rhymes with the color of the fish. The picture is disciplined by numerous rectilinear bands of color and the rigorous geometric structure of the tables, railings, window frame and chair that are echoed in the architectonic forms of the buildings across the river. Transparent like the goldfish bowl but flatter still, the window and its view are the picture within the picture so common in Matisse's interiors, a flat screen hanging between the blue planes of the walls, a luminous projection of the world that the tiny plant bridges. But this sense of fluid movement from near to far is countered by the way the goldfish bowl on its table is hemmed in on every side and our entry into the central space is blocked by a table and chair in the foreground seen from above. This reinforces the idea of the goldfish bowl as an object of contemplation at a distance and also implies the artist's and our presence just beyond the limits of the canvas behind the table and chair. The shadowed form in the left foreground has been interpreted as a chair or chair back or seat seen from above but there is some ambiguity here. It could also be a canvas on the floor leaning against the back of the chair, some previous completed work of the artist or a work to come. The chair itself is not incidental. Chairs serve in Matisse's studio interiors as informal but essential supports for his works in the absence of an easel and as seats from which the artist can contemplate his Matisse and make his painting. They are familiar studio objects. In the sketch for this painting on the left side of the screen Matisse considered a more open entry into the central space. The form next to the table in the foreground looks more clearly like a chair back. In a sketch related to the second goldfish picture he produced that year, on the right the artist shows himself in a chair contemplating the motif with his square palette in hand. The sketch for interior with goldfish places the goldfish bowl in table in front of a narrower window opening that is framed by a long curtain and Matisse includes a picture over the couch presumably one of his own. The legibility of the foreground and these additional elements of decor are eliminated when he decides to concentrate the focus on the goldfish bowl and create a barrier to that central space. In the final painting the glowing tabletop in the right foreground with its luminous bowl that picks up the greens of the distant pavement has more prominence than in the sketch taking up more than half the width of the painting. A number of scholars have eloquently discussed how interior with goldfish suggest a self-contained world and the invisible presence of the artist. I want to look at the painting again to push this reading a little bit further. Examining the goldfish bowl and the way the window frame and wall are seen through its glass and water mediums we see that Matisse pictures the displacement or refraction of light and color. As we look through the water in the bowl the lighter blue of the window frame is deflected to the right side of it. The deeper blue of the wall to the left is also displaced to the right coloring the left half of the water. Again confusing inside and outside the wedge of blue under the arch in the distance continues these blue refractions as if transmuted through the bowl the medium of the bowl in the window pane. The gray wedge on the surface of the water in the bowl first appears to be a past shadow and I don't know if I have a pointer. Do I have a pointer? There we go. Right there. This is what I'm talking about. Thank you. As we look through the water in the bowl the lighter blue of the window frame is deflected to the right side of it. The blue of the wall to the left is also displaced to the right coloring the left half of the water. So I'm going back a little bit. Again confusing inside and outside the wedge of blue under the arch in the distance continues these blue refractions as if transmitted through the bowl in the window pane. The gray wedge on the surface of the water in the bowl first appears to be a cast shadow but on closer inspection seems to be an exaggerated refraction of the gray black shadow on the wall behind the bowl. Matisse diagrams these refractions on the stacked ovals of the bowl with wedges of gray and blue on the surface of the water and wedges of blue and gray green inside the oval of the top of the glass cylinder. The light and shadow on the bowl is both perceptual, stimulated by a particular moment of refracted light and conceptual. It also generates far-flung refractions that are cast deep into the pictorial space over by the river. Matisse's conceptual treatment of light is also demonstrated by the bowl in the right foreground. A soft gray wedge of transparent shadow appears on its right side. Here. Through which we can see through to the rim of the bowl. So it's a partly transparent shadow and a lighter green shadow appears on the left inside the bowl. In between these two shadows is a highlighted wedge of paler green. The shadow to the left inside the bowl is a concave quarter moon and registers shadow created by light coming from the left and hitting the edge of the bowl. But the gray shadow on the right is created by light that comes from outside the picture. Implying a body or object outside the frame to the right, the artist himself were perhaps his palate. Like the chair in the left foreground, this shadow was another sign of the artist's implicit presence in the studio and signals another confusion of interior and exterior. Not just the arc of the plant reaching through the window to bridge the distance between studio and world or the blue into the bridge as if refracted from the interior but the sign of the intrusion into the canvas of something that lies outside its borders. The round vessel on the table is also a foil for the fishbowl. Ceramic rather than glass round and shallow rather than cylindrical and tall. And the contrast of its green interior with the pervading blue of the picture on the illuminated table surface make it stand out all the more. The interior of the bowl is shadowed by light that comes from the room but not directly from the window. The shadow on its right side is cast from outside the picture. Leo Stein reported just how difficult the process of making this painting was and how long Matisse worked on it in early 1914. The layering of colors and changes to the canvas have been chronicled in detail. Several scholars have suggested that the patio interior is a meditation on enclosure, isolation and interiority. The windowed room like the goldfish bowl nested within it. A room of shadows, silence, solitude, the artist's immersion in mental space, claustrophobia or alternatively fear of open space, its temporality either a moment or an extended duration depending on the interpreter. All of this is very suggestive and I'm going to add another layer of interpretation to these. I want to propose what I'll call a refractive poetics for this painting. Light and color pass through the distorting mediums of glass and water of the goldfish bowl and window and are displaced and dispersed. Nesting spaces, bowl within room, room within city are imagined as far-flung projections and deflections and intimate reversals of distance and proximity, face and back. There is a variety, whether it be spatial, subjective or conceptual, insided or displayed by the goldfish bowl and the artist's windowed room is less about enclosure I think than a refractive poetics that in the end does not leave the world outside or the artist's viewer stuck at the threshold. This ordinary work-a-day room has been transformed into a truly strange room. A strangely impersonal one that resists the presence of the artist Henri Matisse. It's only through his disappearance his refraction through the medium of paint and the durational activity of painting. Whatever poetics of space, vision and art-making the painting signifies proceeds from this aesthetics of displacement and distortion through the mediums invoked by the painter. The subsequent pictures in the Paris Studio series continue to elaborate the artist's disappearance. Henri Matisse reduces the artist studying the motif in the sketch I showed you earlier to the analytic forms of pictorial construction. The view through the window in the earlier painting onto the quay, the buildings and the traffic on the street is now reduced to a field of blue that is interrupted by a thick vertical band of black, a translation of the window mullion perhaps and the grill work of the railing. The window structure has become part of the room. The bowl and the painter are now quite close to us but only the rear view are now quite close to us but only the rectangular palette and the ghost of a thumb remain of the painter along with diagonal lines and rectilinear forms that might indicate brushes or arms and legs and geometric forms in the vicinity of the head. Studio K. Sandmichel imagines the studio situation with a reclining new model rather than a still life as the artist's motif. The artist is again strikingly missing from the scene. His empty chair is opposite another bearing a sketch of the nude that reveals only a fragment of the body on the couch and reizes a mirror image as much as one oriented to the model's pose. The nude on the bed is defined in gray, black and warm tones her reality not much more convincing than that of the table in front of the window. The light rectangles of the illegible works on the wall in the background float on the blue-gray plane. The zigzag pattern of the floorboards peters out behind the chair. The white outlines of the ghostly table in front of the window are nearly transparent and the tabletop bends toward the picture plane as if striving to become another picture within the picture like those on the wall and the chair enhancing its unreality. The circle within the table's square top is a bright yellow plate at the center of which is poised a small glass another alluring appeal to the senses like the view through the window and the female nude. The glass in the window pane overlap high above the blue river itself a potential reflective surface the associations rich but obscure. They suggest different modalities of the transmission and reflection of light and analogies and transformations of glass window pane water and mirror I've lost my images and the different kinds of vision and pictorial poetics these make possible. Matisse reworked the yellow plate in glass giving them a material chromatic glow. The opaque curtain in the corner to the left of the window becomes transparent at its edge to reveal the ghostly half of a picture that seems to merge with it. The curtain in the right foreground is a hooded lurking this is the one in the background that's partially transparent and this is the one in the foreground. The opaque curtain in the corner to the the curtain in the right foreground is a hooded lurking spectral presence ready to shut out the view and the light it appears fold around itself its black center ominously shadowed or as if cut away. The striations indicating the stairs on the K in the distance are repeated on the curtain surface suggesting transmissions between interior and exterior and intimations of passage from one space to another aligns during curtains and movements downstairs. With the empty chair set up before the canvas at the center of studio K.S. Matisse paints himself in absentia the everyday studio set up in mise en scene of artistic creation are organized around that absence signaled to us however by the nude on the couch who gazes out at the painter painting and thereby exposes his vanishing act. In the artist in the studio most likely the last in the series the artist does appear but now he's a phantom puppet in a straight chair facing off against the model in her double on the easel in the most austere and dreamlike studio interiors. Nothing blocks us from the room except the spatial disorientation Matisse induces with his fields of black and white that conjoin the planes of wall and floor. The architectonics of the easel and the painter in his chair are stiffly rectilinear and the swathing of the model in a green robe no arms or hands are articulated suggests a bound captive. The flesh tones of the painter make it seem as if he is the nude and he is as bound as she is.  It appears as if the window frame has wrapped itself around his head and the tall easel looms over him. Here the world outside the window remains distinct. Inside and outside do not interpenetrate. The studio is a protected enclosed space of a strange encounter with a view of a city that is now a distant other world, the window grow work setting the boundary between the two. Only the decorative arabesques of mirror and window railing reveal the strenuous reduction of forms and confrontation of figures. But the exterior world has still been influenced by this austere studio regime. Even the sketchy black silhouettes of the passersby on the street are put in order, lined up in space like the regular railing and window openings on the buildings and a bright yellow bar of light on the window frame succinctly sums up the communication between interior and exterior. It's color reflected in the face of the model and her twin on the canvas. It's notable that the window mullion is not included in this picture. Either the angle is such that we are only seeing a small portion of the window or the window is uniquely in this series open. Yet we also see no curtains, shutters or window panes. The actual window structure and transparency do not register and the associations of transparent and reflective surfaces that we saw in studio case and Michel are contradicted by the opaque brown surface of the decorative mirror high up on the wall that reflects nothing. The tense confrontation of painter model and canvas is relieved only by the decoration on this mirror's frame. The box of the room is distorted by bending fields of black and white set side by side. The L shaped black band on our right locking into the white one on the left making floor and wall continuous and enforcing the inescapability of artistic striving. Painter and model are moored in the black, the painting on the easel and the mirror on the white. A conceptual divide you might think between the painters face off with the model and the product of that engagement, the painting on the easel. But all three figures appear equally unreal and the model poses in the scene between the black and white zones. The compact forms of the model and her image on the canvas confront the artist with an uncanny doubling he has to face. The mirror is there to remind us of the artifice of picture making and in this view of the studio interior it really does seem to be a strain. The presence of the artist seems to excited degree of abstracting simplification that turns the figures into radical reductions with an anxious and slightly absurd gravity. Matisse would produce an extended series of studio interiors and niece. I'll only have time to talk about one of them in detail. In the photo on the left we see him soon after his arrival in a room at the Hotel Bourriage with his self-portrait on the chair. On the right is the hotel seen from the Esplanade. In the first few years he would work in the provisional studios of hotel rooms that looked out over the water. Anonymous private temporary spaces far from Paris, his family and the war and its aftermath. He would move to more permanent apartment and studio in the fall of 1921 and this led to the increasingly elaborate staging of objects and models in pictures of odor leaks and interiors like these. Seated odor leaks on the left in 1922 and interior with phonograph of 1924 on the right. There is a general mutation in Matisse's work as he turns from the modern construction of the Paris interiors to the all over emanation of light and niece. In niece the hotel room studios featured ornate patterned walls, floors and ceilings dressing tables upholstered in wood chairs and mirrors decor in a somewhat outmoded style that was found not collected. Afterwards Matisse spoke of the Hotel de la Mediterranean calling it fake, absurd, amazing, delicious. He mentions its Rococo style with its Italianate ceiling suggesting an almost camp appreciation for these places. The ready-made decor of these hotel rooms and the artist status as a stranger in that city seems to have stimulated his reimagining of the artist's studio interior and reflections on making art and it inaugurated a new phase of work which I don't think is Matisse falling asleep. These provisional studios afforded different mise en scene. There are few personal items no goldfish bowls, works by the artist rarely appear nor do reclining nudes or the artist himself although he does paint a self-portrait in 1918 as we saw in the photograph and two pictures of the artist at work in the studio with a figure in 1919. There are sketchbooks and empty chairs to suggest the absent artist or model and occasionally a stray work that might be by Matisse on the wall. This is before the Nice studio turns into a congested theater of artifice obsessively arranged but it is still a kind of stage set in which constellations of objects are arranged. In this early Nice series there are still windows and a fascination with the quality of the light that Matisse would later characterize as silvery. The pictures seem to be more relaxed spatially and more improvisational engaged in rhythmic repetitions and variations that suggest the animation of the room. The viewpoint is higher than in the Paris interiors often floating high up on an imaginary back wall. But despite this loosening of the flow of light in space interpreters have still located a sense of anxious solitude sometimes even imprisonment in these Mediterranean rooms. In contrast to the Paris studios the windows of French doors are generally open. They also shift position as the artist looks through them more directly and at less of an angle shifted from the wall closer to the center of the picture. Multiple layers of curtains and sometimes shutters often frame them. Interior with violin case on the top right was painted in Matisse's second season in Nice in 1918-19 a larger more ornamented space in the Hotel de la Méditerranée than the room with the Hotel Bauré Vaj you see on the upper left from the previous year. The plane of contrasting patterns services striking in these Mediterranean rooms the yellow wallpaper and the red curtain but also the bits of ceiling decoration in the tile floor. The floor patterns of the wallpaper and the irregular grid of the floor set up rhythms that give the picture a beating pulse. The upholstered chair holds a violin case sign of the artist violinist whom he might imagine playing or painting out of frame. While the French doors to the balcony are open at the top the curtain falls over a fixed arched and peddled window that casts bright outline pedals onto the interior surface of the fabric. We see a blue shadow in the center of the window pane on the right. It could be a reflection of the green form out the window to the left but it is not visible through the transparency of the curtain although the curtain is transparent above. The reddish brown line of the trim at the top of the window is set at a diagonal like all the rectilinear forms in the picture. To my mind this is the closest Matisse comes to these pictures of interiors to integrating the view out the window and the interior space bringing that light into the room. There are of course pictures that he makes of the balcony itself reviews from the balcony but in any case bringing this light into the room there's still more than that more than just light and rhythm in this picture. The dressing table is placed near the window an arrangement that doesn't get repeated I believe except in an earlier related picture that shows the table with the mirror closer to hand and at a diagonal on the left. There the mirror does reflect the room. In interior with violin case the black chair, the black sketchbook the black mirror all line up before the open doors. We can see the traces where Matisse moved the chair over to the right adjusting their relation. Light streams onto the table and onto the tile floor. Tiny strollers seen through the stone ballast route are also sketched in black. They are illuminated by the irregular grid of the spaces between the ballasters. There's something witty about Matisse's simplification and segmentation of forms in this passage with the squat ballasters, the distant strollers and the irregular streams of light that flow across the floor. Those ropes of light on the floor recall his reminiscence that the light at the hotel came from below like quote footlights in a theater unquote. The resident black forms the mirror and the black sketchbook explicitly counter the incidental inconsequence of the sketchy black silhouettes of the wandering strollers outside. Canceling the floor of light that floods the room, the mirror refusing its optical reflection surrounded by the syncopated rhythms of the ballast rod, floor, walls and ceiling.  This artist is doubly absent of Matisse's room as both musician and artist. But the music he does play fills the room via the rhythmic structures of patterned surfaces. The black forms especially the mirror and the notebook with their greater density emanating blackness as if it were light I think Matisse would say. Our pools of concentrated darkness and stillness in a room of implied movement. The curtains as they rustle from transparency to opacity. The pulsation of the field of irregular patterns of the tiles on the floor or the floral designs on the walls. Another way of saying it is that the animate breath of light in this room its Mediterranean music is accompanied by the silent depth of the black mirror and the black sketchbook. This black as absence is as powerful as the light that enters the room the artist paints. Work in the studio was at the center of Matisse's practice and he was clearly compelled to reflect on that space and his experience of it. He depended on the presence of the model or the motif whether that was an object, a view or a figure. And in the first free seasons in Nice experienced the liberation of his new environment and in particular its light. One of my favorite statements by Matisse is the one that goes the model is a springboard for me it's the door that I must break down to reach the garden in which I am alone and also happy. The paintings of the studio interior in both Paris and Nice are seeking out that garden through a mise en scene of appearance, artifice and ultimately disappearance. As the poet Mallermey might say quote the almost vibratory disappearance according to the play of the word. Thank you.


In this video, we will discuss a few problems based on the chemical reactions of ethers. We already know that ethers are the most unreactive functional groups. In fact, ethers are so unreactive that we usually use them as solvents in many chemical reactions. They are highly inert in nature and do not interfere with the reactive species that are formed during a chemical reaction. And therefore, for these ethers to undergo a chemical reaction, we need to provide extremely drastic conditions, like using very strong acids like HI or HBR in large amounts, and also changing the reaction conditions like providing higher temperature, and so on. And a classic reaction of ethers is the breaking of CO bond and forming a substituted product. So let's now look at a few examples of such reactions. The first question is to identify the products formed when methyl isopropyl ether is treated with concentrated HI. Let's first draw the structure of methyl isopropyl ether. It looks like this. We have a methyl and an isopropyl group and when it is treated with acid, the ether gets protonated. The lone pair of electrons on the oxygen atom abstracts the hydrogen and then here we have the protonated ether. Now in the next step, we have an SN2 attack of the iodide ion which is the nucleophile. Now the question is, we have an I- here. Now which carbon would it attack? Would it attack the methyl group or would it attack the isopropyl group? We already know that SN2 mechanism is highly driven by steric factor. So the I- would attack that part of the ether which is least hindered. So obviously the nucleophile would attack the less hindered methyl group and eliminate this as the alcohol. So our final products would be methyl iodide and isopropanol. Ok, so let's look at the next question. In this question, we need to identify the products that are formed in this particular reaction. So here we have an ether and we are treating it with concentrated HBr. In the previous question, we saw that the ether had a methyl and a secondary group. But here we have a tertiary group and a primary group. Now the first step is the same where the protonation of the ether takes place. The lone pair of electrons on the oxygen atom abstracts the proton and give us the protonated ether. Now the next step is a nucleophilic attack. The bromide ion would attack this ether and give us the substituted product, right? Now in this ether where we have a tertiary alkyl group, the nucleophilic attack proceeds via SN1 mechanism. Because if this bond breaks, the CO bond breaks, it gives us a more stable tertiary carbocation. So the next step is the formation of the carbocation which is a slow step. And in this step, you can see that the alcohol gets eliminated. So here we have ethanol forming. And the last step is the attack of the nucleophil which is obviously a fast step where the Br- attacks the carbocation and results in the formation of a tertiary alkyl bromide. So you can see that the products formed in this reaction are a tertiary alkyl bromide and ethanol. So as you can see from these two questions, when we have mixed ethers with two different alkyl groups and if the alkyl groups are primary or secondary, the reaction proceeds via an SN2 attack. Whereas when one of the alkyl groups is a tertiary group, in that case the second step follows an SN1 mechanism generating a tertiary carbocation. Alright, so let's look at the last question now. So here we have a phenolic ether which is heated in excess HI. So the first step is obviously the protonation of the ether. Second step is the nucleophilic attack where I- would attack and produce an alkyl iodide. Correct? Now the question is would the nucleophile or the iodide ion attack the phenyl group and eliminate this as the alcohol? Or would it attack the alkyl group and eliminate a phenol? Obviously that bond will be broken which is weaker. Now the bond between oxygen and the ethyl group here is weaker than the bond between the O and phenyl group. The carbon of the phenyl group is sp2 hybridized. Because of this, the bond between this carbon and oxygen will be shorter and stronger as compared to the bond between oxygen and the sp3 carbon here. The CO bond also has a partial double bond character because of the delocalization with the benzene ring that makes the bond stronger and more difficult to break. So because of these reasons, the nucleophilic attack would happen at this carbon eliminating phenol. So the final products are phenol and ethyl iodide. So easy to remember that whenever we treat phenolic ethers with excess of hydrohalic acids like HI or HBR the product is always phenol and corresponding alkyl halide.


Allah Subhanahu Wa Ta'ala in a very short chapter of the Qur'an, Surat Al-Asr, gives us a really comprehensive grounding to both our circumstances and what is asked of us. Allah Subhanahu Wa Ta'ala swears by the time, or gives an oath, Wa Al-Asr. And in the Qur'an Allah Subhanahu Wa Ta'ala uses both for many things, both in terms of the world and also swearing by the age of the Prophet ﷺ, which is the only time that Allah swears by the name or by a human being in relation to the Prophet ﷺ. So Allah in here is using the word of oath, Wa Al-Asr. And commentators have reflected what is this oath by means of time. And then saying, Wa Al-Asr, Inna Al-Insana La Feequs, that barely the human being is in a process or in a whole act of diminishment. In places Allah swears by the sun, Wa Shamsi Wa Buhaha, in places that Allah Subhanahu Wa Ta'ala swears by what teeny was they too, by the fit and the other. So it is not surprising that Allah has no limits on what elements that He draws our attention to. So what Al-Asr in here is reminding us, commentators said, is for us to reflect back on human history. In essence, often we are forgetful of what took place before us. Because we think that we are the ill factor, not the ice cream, but that we are full of ourselves. And in essence, we continue to repeat the same mistakes that other human beings have committed. Allah is saying to us, reflect upon all those who came before you. But also someone says, also Al-Asr is also, Allah is reminding us of what is it that we have our capital, in this world is our age. And for those who are in business, you have your capital, your investment, right? And then you have the profits that return. Allah gave you your age. And from the moment of birth, you are just what you call having withdrawing from your principal. So it's an Al-Asr inna l-insar, because it's also a moment for us to reflect upon that we celebrate our birth days. And here I'm not talking about the Halal Al-Haram of it. Let's remind you that I was born so and so.  Allah is swearing by Al-Asr, inna l-insan al-apifus. But then he creates an exception to those inna ladina aman. That human beings are in a state of diminishment. Or also those who came before us understand of diminishment except those who have faith. Inna ladina aman, ourselves. You are diminishing, unless you are from those people who have faith. Inna ladina immediately wa amil usfali haf. So faith, because it's not enough to say, but it does not reflect on your lips, on your actions, on your thoughts, on your relationship, on your family, on your community. That faith that you are articulating. Because in essence it's what you call being faithful but not reflecting the faith that you have in it. So for example, we fear poverty. That's a lack of faith. That's also a lack of faith in relation to your actions in the world.  So having faith in Allah, Allah will give you your risk. But all what you need to do is also to go out and act according to faith in the world. Not to cut corners, not to step on other people, not to wail in your actions. The faith that you have in Allah subhanahu wa ta'ala. So inna ladina aman wa amil usfali haf. So our faith asks us to actually act upon faith. So our faith is, in essence you could say, our faith requires for us to be really connected to the world in order to actualize faith in our actions. And therefore people look and say, masha'Allah this is a mu'min that their actions reflect that iman. Inna ladina aman wa amil usfali haf. That they do good deeds or manifest the good deeds. But it's difficult. Wa tawasa wa bil haf. Wa tawasa wa bil saf. The verb that Allah subhanahu wa ta'ala used is tawasu. Which is, if you're studying Arabic, is one of those verbal patterns on pattern six. Which is a reciprocal relationship. That there has to be two parties into the verbal structure. And it says, wa tawasa wa bil haf. Meaning that counseling each other to that which is good, that which is just, that which is true, that which is marasin. I need to remind you, and you need to remind me of that which is haqq. Again, part of the problem in societies is that people begin to be shy to say to that which is wrong, wrong. And begin to do what's called mudah in American. It's just because somebody is important we're not going to tell them that the emperor has no close. Why? Because we think that there is something to be gained. So you need to remind me of what is good, what is haqq, and I need to remind you what is haqq. That is where Allah is asking. Wa tawasa wa da fa'ala. Then to remind me of that which is wrong. Because in here it's a communal activity that brings justice to the society. It's not an individual. I'm just going to contemplate what haqq is in my home. So on, so on, so on, so on, not to remind me. But also a deal of masiha that our deen is about counseling. Which is also if you see somebody that you want to give them counsel.  That's not counsel, that's arrogance. You try to put yourself that you already know it all. And you're trying to put the faults of others. Or you put it on Instagram, Twitter, social media. Or you get up in a khutbah and give a whole deal about so and so. The Prophet ﷺ never mentioned individual by name. He said why people do this and this. So if you have a counsel that you want to give to somebody, you can help or to move them away from that which is wrong. You need to be a person that is covetous of maintaining the religion of the community. And I know these days what you call, we think the Eman and Amal at Tawwas al-Bidhaab is about likes and shares on social media. And the fact that you have more shares and more likes in social media meaning that you have more haqq to your side. Isn't that what it is? And you say I have fans. Or I have what you call a person that have social impact. I'm an influencer. Influencer for what? Again, I'm not critiquing using social media but if you want to say Tawwas al-Bidhaab, you have to find a way because you want to build with a person you don't want to chase them away. So we need to counsel each other in order to be cohesive as a community. In the haqq. And it's so simple. You need to be open to taking critique, constructive critique. And you need to be able to give constructive critique. And then what Tawwas al-Bidhaab. Allah is asking us also to counsel each other in patience because staying on haqq is difficult. Staying on haqq is difficult. I need to build you up and you need to put me up in salary. Tawwas al-Bidhaab. And they counsel each other to be patient because being on standing firm on haqq. Standing firm on truth. Especially around your own family. That is the most difficult thing. Because we are able to go out there and give what you call the most eloquent defense of haqq. And then we come back into our world on what you call tribe, family, community. And we just become silent. Isn't that the case? That is it. The one and the other of the Subur'an. The other verse of the Qur'an Allah says. Masmidu wa s-sa'idu. That being patient and also of the doubly patient. Sada'u because the other or the wrong is that they are always pressuring. So you have to also persevere. So that suburb is really a commodity that is very lacking in many of our practices being taken.  But to counsel myself first and you of what are the things that we can reflect upon. Right? In both our community, our family and our society. And we reflect upon Surat Al-Hassan. And more so because we're facing a pandemic. Many of us are saying how difficult it is. We're almost coming through one year. And people are losing it. Just think of the problem. So I said in three years, embargo in Sha'a Al-Mafka outside of being having an embargo and a siege on him by the maqad for three years.  No marriage, no relations whatsoever. Right now we're complaining. Oh, this is so difficult. Oh, let me get an Uber before the food won't. Let me put the door dash and get food in here. Let me go and load up from home food or home wallet to get me all what I need. And then we express like a lack of patience and everything is available to us. We're just being asked to do limited things in order to improve the collective conditions. So the most difficult commodity is really very difficult. And therefore in this short chapter of the Quran Allah is giving us this reminder. It's all counsel myself and you take time seriously to reflect upon our main investment in this world that Allah has given us, which is our time, our age, and to put it into good use to counsel each other for us to build each other and help for truth and veracity, not to berate or push each other out but rather to build each other because truth is empowered with a collectivity is acting upon it and reminded it. Shaytan pursues the one that is isolated by themselves. So in here what we need is to collectively empower ourselves on advocating and being on behind and standing for truth and to practice patience in all of our affairs. And not to be people that immediately lose it or turn to anger and I know that in some corners I'm very familiar with my Arab brothers and sisters where you go from 0 to 80 in terms of anger. There isn't even a stop much faster than a Tesla in terms of anger. That's just really completely defeat but the whole notion of suffer which is the ability to actually reflect and hold yourself more so than the moment of anger and the moment of the visit. I'll tell you what I have to say. From Allah they pray to the Prophet, O my beloved ones, may Allah bless you and grant you peace. May Allah pray upon our Master Muhammad and upon his family. May Allah pray upon our Master Abu Wadih and upon our Master Abu Wadih. In our world, we are like the children of Allah. May Allah bless us and grant us guidance. May Allah bless us. May Allah bless us and grant us peace. May Allah bless us and grant us peace.


The community of La Clare hosted the second leg of the Caribbean Family Wellness Day Outreach organized by the Ministry of Health with UNICEF as one of the partners. UNICEF's program coordinator Vincent Lewis noted his organization's desire to see every child grow and develop to achieve his or her full potential. Of particular concern was the prevalence of lifestyle diseases. As you know, obesity is a major concern here for us in St. Lucia. We also have a very high prevalence of non-communicable diseases such as diabetes and hypertension. And so events like this are important to help build awareness and achieve behavior change. For now we are focusing on diseases such as diabetes, high blood pressure and chronic kidney disease because along with those cancer and suicide we are finding that these are the highest costs of death throughout our island. Dr. Jenny Isaac-Louise said the Caribbean Family Wellness Day was also meant to assure patrons that non-communicable diseases can be managed. So we are here to highlight that even if you have a chronic condition that you can still be well. You can be well with a chronic condition.  I think it's one of the key things to help us with overall wellness. The St. Lucia Cancer Society was among health agencies represented. It had a critical message for the youth. We are showing the ladies how to do their own breast examination and also the men how to do their own testicular examination because we find a lot of the young people especially they do not know how to do their breast examination. Mental health was also in focus with the representatives of the Mental Health Unit engaging attendees of the Caribbean Family Wellness Day in La Claree.  Those in attendance were pleased with the Caribbean Family Wellness Day activities. Most have taken advantage of the free consultations and tests on offer. I did not regress it because it's very beneficial for those who are growing more and those who don't. It is the hope of the Ministry of Health, UNICEF and other partners that the key messages of lifestyle modification, exercise and healthy eating will help reduce the high rate of diabetes, hypertension and other non-communicable diseases.


Hi everyone, in this short tutorial I'm gonna show you how to install Django with Pip Package Manager. In order to do that, first I'm going to open Windows Common Prompt. This Windows Common Prompt is a little bit weird because I've changed its colors and fonts. So if we want to install Django by using Pip Package Manager, first we need to type pip command and install Django. And when I press enter, Pip is going to start the installation process and install the most recent available version for Django, which is currently version 2.0. But instead of installing the most recent available version, I'm going to install the version 1.11 because this version is the last Django release that supports Python 2. So this is the last version which supports either Python 2 or Python 3. And in order to work, this version requires Python 2.7 or at least Python 3.4 or higher if you're working with Python version 3. Okay, now I'm going to press enter and the installation process is going to begin. And now Python Django version 1.11 has been successfully installed on our machine. That's all for this tutorial. Thanks for watching. Don't forget to subscribe to our channel. See you in the next tutorial. Bye.


Nanogel technology has been used to develop new treatments for ocular diseases such as glaucoma, cataracts, dry eye syndrome, and bacterial keratitis. These nanogels can deliver drugs directly to the eye, allowing for more effective treatment with fewer side effects. Additionally, they can be used to create contact lenses or coatings that contain drugs, providing even greater potential for treating these conditions. This article was authored by Yongkang Wu, Qing Tao, Jin Xie, and others.


I'm Mark, I'm going to talk about hardware random number generators and broadly talk about why you might need random numbers, some good sources of them and we'll show you when you can build yourself if you need a source of entropy in your pocket. So that's what is they, why do we need them, where can we find them and they want to build yourself. So very quickly what are they, five is random number, so it's eight. Eight, yeah it could be, who knows, that's the thing, you can't need a big set of them to decide whether they're random. Two or three probably, maybe they're enough, it depends what the application is to a great extent. So the idea is they're unpredictable, unrelated, generally you use a uniform probability or a profile of your choice depending on again the application. And they've got a low auto correlation for offsets greater than one, so if you have a big set of random numbers they'll obviously match themselves to a great extent but they'll match other sets of random numbers to a very little extent, so that's an important property of them, low cross correlation. So here's a graph of the auto correlation of a random series that I picked earlier. So when it's correlated with itself, very big, any other offset with itself, very very small and that is useful in some applications which we'll come to. And there are lots of tests for randomness because as we saw, sometimes you can get two numbers the same, very close to each other, is it still random? Well there are lots of tests you can do to try and convince yourself that you've got some random numbers and I don't intend to go through any of these in fact. Because again it really depends on what your application is. If you're playing Cludo then you probably don't need such a great choice, you can use a mechanical solution. If you're in crypto maybe you need something a bit more reliable. So different properties for different applications, not all random numbers are equal apart from those two we saw earlier. Ok, so some applications of them. And then if you come across Monte Carlo simulations this is a way of doing numerical integration. So if you want to cover the parameter space of a function which could have been infinitely, very large space, or infinitely fine space if you've got as many decimal places as you want. You can use random numbers to sample that and get, sort of start to converge on the real value of the integral. Used a lot in finance and things like that. We have an odd one audio noise makers so you can sometimes find these in alarm clocks. If you want to get to sleep it produces a nice whooshing noise. The sound of the sea or a breeze through the trees. And so again with that you probably don't need a mathematically rigorous random number generator. You just need something that sounds good. Background noise in telephone systems so that you know that the other caller hasn't dropped the line. In older systems the noise came for free but the digital systems there's just no noise. So you can create your own and ruin all that effort in making noise-free amplifiers. Picking premium bomb winters, of course Ernie, a great exhibit at the Science Museum. If you get a chance to do that it just fills a room. But yeah, it's just wonderful to see the original Ernie. It needs to be fair and they need to get their numbers right because they're paying out when they assign winners. So it's worth their while getting that correct. Test equipment, testing frequency response and so on of circuits. CDMA, quite an exciting one. If you have a chance to read about this so you know about it, it's terrific technique for encoding digital signals. All the GPS satellites use it and they encode their low data rate navigational information on top of a very high rate pseudo random sequence. Which lets all the satellites talk on the same frequency and your device can pick them out of the noise because it knows what noise it's looking for. You should think of the autocorrelation graph earlier. There's a very strong autocorrelation with these sequences have a strong autocorrelation with themselves. And so you can use that correlation to pick out the particular satellite you're looking for out of the noise of all the other satellites. And it's also used in DAB transmission. If you have lots of regular patterns in digital data it can mess up the output spectrum of your transmission. You'll get a lot of energy in one particular area. If you mix that with a noise sequence then you know that the statistical properties of that signal have certain statistical properties which aren't affected by the data you're trying to transmit over it. Ironically, the random noise makes the signal more predictable. The most important application is in 1970s sound generators. You'll remember fondly Space Invaders from 1978. And this used a linear feedback shift register from discrete logic to generate noise. There's the shift register, there's a bit of a clock there and something for squirting some ones into it when you first power it up. And that will just sit and generate noise for the system. And then this is the missile sound which uses fully a glow generator to add an envelope to that. We can listen to that now, I think. You can hear that noise generator there. And now you know what it looks like. Great. Oh yeah, cryptography as well. It's quite useful for that. Generating keys, digitalisation pictures, so on. And these numbers, they do need to be unpredictable and used once. Otherwise, you get yourself into, well, it just undermines the security of that system. So some sources of these, so I'll probably go through these fairly quickly, but there's two types. There's a true random number generator which are unpredictable and no matter how much of the sequence you've seen. And then there's two random generators. And these exhibit the same properties to random processes, but they are deterministic, so completely reproducible. Predictably unpredictable. So again, those sequences used for the GPS satellites you need to know. Everyone who's got to receive it needs to know what those sequences are. And so you can tell someone that this is what the generator is. You can still generate that random sequence, but everyone's generating the same one. Is it really random then? So maybe one for the philosophers. Easy to implement in software, very fast, they are periodic. So some of them are quite short, so the spacing values, shift register, probably a similar length to the number of bits in the shift register. The one for the GPS precision code takes about nine months to transmit. So that's a much longer one. This is the kind of thing they look like. This is a functional generator, so it's an iterative function. And by selecting A, X, B and M, you get a different sequence of numbers. It doesn't seem to be a very good idea to pick those numbers at random. They don't tend to get good numbers. You might have short sequences or patterns in there. So one of those things that I certainly would leave to the experts, rather than trying to build my own. Another source, probably more of a hardware source if you want to build something, is the linear feedback shift register. So here's a 16-bit shift register, and we just take some taps at various points, X all them together, stick the output back in the start, and as we shift that along, we get pseudo-random bits out of the end. And that's a nice, simple way of doing it. Again, those sequences are sort of related to the number of bits in there. So maybe 65,000 before it will start repeating the sequence again. Mercen Twister is another one popular. I have no idea how it works. I'm not going to even attempt to describe that one. I opened the book at that page, and it just quietly closed it again. But maybe someone can explain it to me afterwards in the pub. Lipty Curve Generator is including Dual ECDRBG, which of course is famous because it looks like this. So it's quite similar to the congruential generator we just saw. But the exciting thing about this one was that it was claimed that the NSA had compromised this and forced it to be part of a standard suite of random number generators. And apparently if you could see 32 bits of output from this generator, you could then start to predict all the rest of the sequence, which clearly isn't great if you're using it to generate encryption keys and so on. Bruce Schneier, and I'm paraphrasing here because again I copied it out of a book in the library, and I didn't write it down properly, but this is a gist anyway. I'd like to assign something to him that he didn't really say. But these sequences have funny correlations of use in a certain way, and it's these weaknesses that can be used to attack cryptosystems. I've got an example of that here. So this is a very simple example. This is a linear feedback shift register I've got, and it's generating six bit numbers and it's taking pairs of numbers and plotting them in this space. I'll take x and y and plot those, and I think we can actually listen to it as well. And so if we just take pairs of numbers, six bit numbers out of this shift register, you get, it sounds like noise, it looks pretty random. Great, okay, we can use that for whatever you want to do with it. But you can have hidden patterns within there. With that generator, if I take numbers out of it until I get a number less than 10, and then take the next pair of numbers and plot that instead, rather, well, if they're unconditional, we'd expect to see the same pattern. We're just waiting for a 10, and then taking the next pair. And if they're all unrelated and uncorrelated, then we should just see a random pattern. And we don't. It wouldn't be much of a demonstration if we did. You could argue that there's a pattern forming in there. It still sounds pretty noisy, so you can't trust your ears, but there it is. That's the kind of thing that can catch you out. And I definitely think that those pseudo-random generators are best left to the experts because the key is, encryption keys are the weak point to any security system. So, all these pseudo-random generators need a starting state, or seed. And again, this is where people can make mistakes, even with a good generator. So picking seeds like millisecond since EpoC or millisecond since Boot, amazingly seems random, or unpredictable at least, but there's at least two examples I've found. There's a hack and use hack where someone could predict session keys for a hack and use website based on the fact they knew when the server was started. Planet Poker, you know, put a poker site where they found out the seed to the generator and from then on you could predict how the cards would help, which is clearly an advantage when playing poker. So you need a source, a real source of entropy that's unpredictable and that's where these true generators come in. So, lots of sources of randomness in the physical world. Atmospheric noise, so lightning strikes, whatever. Cosmic noise, big bang rows of you, that's exciting. And this is the kind of stuff you used to get if you tune your analog telly between channels, static, off-radios and so on. So that's a great source, but possibly prone to interference, quite literally. You know, it's clearly outside source, so you have to be pretty sure that no one's interfering with that. But a good source, unless you can guarantee its ability. But as you've seen, something can sound perfectly hissy, not look perfectly random, but there are hidden correlations in there that they might be trying to fool you. Thermal noise, so, for instance, carbon resistors are pretty noisy. If you build an amplifier out of carbon resistors, or in fact, only an amplifier in the early 80s, just hissed, when you send it up, it hissed and that's a nice source of thermal noise, quite a low level. So it's useful, but there are better sources.  If you've got a whole bunch of them, although the overall activity might be constant, you can look at the time between subsequent decays and use that as a source of entropy. Another exciting quantum process is single photons moving through a beam splitter. So if you have a beam splitter that's got a 50 chance of transmission or reflection, if you can fire a single photon at it and measure whether it's reflected or transmitted, you've got the ideal coin flip. And again, there's no way, even in knowing that having full knowledge of the system, you can't predict that all the hardware required to produce single photons and measure them, it's not affordable, it's kind of expensive. There's probably better ways. Oh, diode noise, well, what a coincidence. So this is a great source because they're cheap, they're small, they're not using any outside source, it's all internally generated. They're not without their problems, I'm sure we'll talk about. But there are two sort of processes involved in diode noise. There's no effect and avalanche noise. So this is how you generate that diode noise. So if a reverse bias diode with a current limiting resistor and use a harness voltage and the junctional breakdown, and if you pick a nice big value for that resistor, it'll be a non-destructive process. It sounds destructive breakdown, but it's fine if the current's kept low, it's only the heating effect that's going to destroy it. So we can generate a breakdown. Now, I should say these diodes that have a low reverse breakdown voltage are generally used for voltage regulators, and they're all called zenediodes, but there are two effects here, the avalanche effect and the zener effect. So next time you're buying zenediodes, you can ask avalanche diodes and see how far that gets you. So the zener diodes have a very narrow depletion layer between the P and the N side, and when the electric field is strong enough, when you put a large amount of voltage on them, those electrons can turn across the barrier, and this is another super exciting quantum mechanical process. So again, you have full knowledge of the position of all those atoms. You can't predict this, this is great. This is the majority of effects in diodes where the breakdown voltage is less than 4 volts. As temperature increases, the barrier level decreases, so the probability of current tunneling increases. So this is my picture of tunneling, not very good. It doesn't really make sense when you say the barrier level decreases because it tunnels, but that's because these things are hard to draw. So this has a, if the diodes get hot, then their breakdown voltage will decrease. On the other hand, there's avalanche breakdown. At high field strengths, the electrons get enough energy to ionize other atoms in the semiconductor, and those electrons are accelerated, and ionize other atoms and so on and so on. There's a large number of electrons moving about and current flows. This is the majority effect in diodes where the breakdown voltage is greater than 6 volts. Here's another terrible diagram. It's like a chain reaction, that's what it's supposed to be. So when it comes to temperature, as the semiconductor gets hot, the lattice starts to vibrate, and basically the electrons get scattered sooner than if they weren't vibrating. The path between collisions becomes less, so they don't have a chance to accelerate as much as previously for the same applied voltage. So you need a bigger voltage to cause the avalanche effect. So then a process, the voltage goes down with temperature, avalanche, the voltage goes up, and this is a handy way. If all your zener and avalanche diodes get mixed up in the box, this is a great way to sort them out again. I think we can go now and actually see this effect in action. I've got two diodes here. One's a zener diode, a breakdown of about 3.5 volts. One's an avalanche diode with about 12 volts. And if we look at the... This is the zener diode without. You can see there's some noise there. Purely quantum noise, very exciting. I really think that's more of a marketing thing, to be honest. Don't believe any practical value. This is the avalanche diode. You might notice a slight difference in amplitude there. It changes the scale of my very expensive oscilloscope. So that's the avalanche diode noise. And that's the zener diode noise. So while the avalanche noise is a classical mechanical process, can you really predict that? You can't possibly measure the state of the semiconductor. I think from... As far as the marketing department is concerned, the quantum stuff sounds great, but in all practicality, I don't think this is any worse. And it's also got a much higher output, which makes it easy to build one. So I'm going to use the avalanche effect in demo. So here's one you can build yourself. It's cheap, it's simple, it has a charge pump. This is what it looks like, by the way. So it uses a 9-volt battery. It uses a charge pump to boost that to 12-13 volts. Of course, breakdown in a reverse biased PN junction. An amplifier, an ADC, and a display. And it just uses an ATML. So an ATML microcontroller part to do everything from this side. And you can even listen to it as well. So it just plays it on the screen. So this is the previous one I built, which doesn't have the sound output. So feel free to pass those around if you want to do it. And meanwhile, I'll just show you the circuit. So ironically, it uses anodide in the power supply, but it doesn't use it in the noise make-up part. So this is the business end. So it uses 9 volts from the battery. It uses these diodes to create a charge pump, to create a higher voltage here. It actually uses a reverse biased base emitter junction rather than a diode. Well, frankly, I was buying a whole bag of these things anyway, and it seemed a shame to have another part in the bill of materials. And also, it turns out that these transistors, those junctions are really noisy, much more noisy than that diode we saw there. I guess they're not designed to be using this way and so there's no effort made to make them quiet. And so it just means if amplified, it doesn't have to have so much gain for it to work. So it's part of the cost optimization process. So you can use that as a source of random numbers. Instantly, there seems to be any number of companies out there offering different ways to generate numbers, so quantum numbers using light, using xenodiodes, using avalanche diodes, radioactive sources, you name it. Each group says that they're more random than the next group. But you can spend as much as you like. If that makes you feel better. Or it could be a great opportunity to get in yourself and start selling them. So I hope you found that interesting. If you have any questions, I have to answer them. Also, this isn't probably part of the demo, probably one for Arthur if you're interested, but we can heat up the diodes and we can see the voltage go up and down depending on the, so I can prove to you the effects they are. IBM was actually right when they said there is a place for the hair dryer in the laboratory. So yeah, if you've got any questions.


Again, let's read our first story, let's read our first story from real war stories number two published in 1991, and this story is war is a racket written as a book by General Smetley Butler, until like a decade ago, the most decorated marine in US history, and he wrote the book in the 1920s, I believe, we did a reading of it, and I'll have the link in the description of this video once it's been uploaded to CensorTube, Bichoud, and Rumble, so if you're watching this reading, if you want to have a read through the book, we did an audio reading of it, and it is available on SoundCloud as well as an audiobook where I ended up reading the entire book, and you can find the book for free online, it is one of the most important books in history, it should be this book, war is a racket by General Smetley Butler, should be mandatory reading in every high school in the United States and Canada and the Western world really, and it should be mandatory reading every year in my opinion, okay, grade eight, grade nine, grade 10, grade 11, and grade 12, and I think every year kids should have to read this book and write an essay about what its implications are, okay, now this version, and as far as I know this is the only version of this comic book, of war is a racket in comic book format, was adapted by Joyce Bradner, and Joyce Bradner is the widow of the author of American Splendor, she was a activist, anti-war activist, peace activist, the art is by Wayne Van Sent, and he was a Vietnam war veteran and he wrote a lot of, he's done a few different comic books regarding war, and he was a peace activist as well, right, the letters is by Dianne Valentino and colors is by Sam Parsons, that's one of the longer intros regarding a comic book, because we're going to be snipping this out out of the live stream and uploading it as an individual story, let's have a read through this, let's have a read through this, and that's General Smetley Butler I believe, right, should be, looks like him, Newton Square, Pennsylvania, 1934, General Butler, the taxi couldn't get through, glad to see you, my wife's got donuts and hot coffee in the mess hall, for reporter John Spevac, it was a story of a lifetime, an interview with Major General Smetley Butler, USMC retired, the first US commander in this century to have done 12 separate tours of duty in Central America, and the first man to have been twice awarded the Congressional Medal of Honor, the highest military decoration his country could do bestow, there are things I've seen, things I've learned, that should not be left unsaid, General Smetley Butler states, I don't want to mislead you, some people will tell you, I write for a communist magazine, the reporter says, so who the hell cares, there wouldn't be a United States, if it wasn't for a bunch of radicals, he says, I once heard of a radical named George Washington, as a matter of fact, for what I read, from what I've read, he was an extremist, a goddamn revolutionary, revolutionist, Smetley Butler says, I was 16 when they sunk the main, back to join the Marines, he says, war is a racket, war is a racket, I spent 33 years and four months in active service, as a member of our country's most agile military force, the Marine Corps, I served in all commissioned, commissioned ranks, from a second lieutenant to major general, and during that period I spent most of my time being a high-class muscle man for big business, for Wall Street, and for the bankers, in short I was a racket here for capitalism, I suspected I was just part of a racket at the time, now I am sure of it, like all members of the military profession, I never had an original thought until I left the service, my mental faculties remained in suspension, suspended animation, while I obeyed the orders of the higher ups, this is typical of everyone in the military service, I helped make Mexico, and especially Campico, safe for American oil interest in 1914, I helped make Haiti and Cuba a decent place for the national city bank boys to collect revenues in, we supervised elections in Haiti, and whenever we supervised them, our candidates always won, I helped in the raping of a dozen Central American republics for the benefit of Wall Street, I helped purify Nicaragua for the international banking house of Brown brothers in 1909-1912, I brought light to the Dominican Republic for American sugar interest in 1916, I helped make Honduras, Honduras right for American fruit companies in 1903, in China in 1927, I helped see to it that standard oil went its way unmolested, looking back, looking back I feel and might have given Al Capone a few tips, the best he could do was to operate his racket in three city districts, we Marines operated on three continents, on guard, citizen soldier back in court for Agent Orange Vets, our boys were sent off to die with beautiful ideals painted in front of them, no one told them that dollars and cents were the real reason they were marching off to kill and die, the economy act passed by Congress in 1933, demanded that Spanish American war veterans furnish legal proof that their disabilities were incurred while in the service, 35,000 AO vets died treatment, denied treatment by VA hospital, not service connected, high tech training and myth, steady confirms 50% of all military jobs have no civilian counterparts, men were taken off the pension rolls, ousted from hospitals and told to shift for themselves, employment center, people have been led to believe that Congress is lavishing its paternal care upon every ex-serviceman, including the veterans, veteran who has acquired flat feet, pounding the pavement in search of a job, on guard, free to, 90s cutbacks close VA doors to low income vets, they will tell you that any veteran who breaks his leg in an automobile accident only suddenly needs his tonsils removed, simply has to go to a government hospital to get the necessary treatment at the expense of the taxpayer, as a result of disclosures of World War I intrigues men and women have been endeavoring to chart new paths towards peace, our neutrality measures prohibit the export of the rifles, ammunition and other products to nations of war, but there are ways and means of evading such embargoes, machine guns can, as they have been in the past, shipped as sewing machines, canons can be camouflaged as locomotive parts and with the necessary bribes placed aboard ships, for veterans fast to protest Central American policy, veterans for peace, as that General Smetney Butler, testifying in Congress, in the Senate. In July of 1932, over 20,000 veterans and their families marched on Washington and camped on the edge of the Capitol to protest the failure of Congress to honor America's pledge to his fighting men. We let Hoover know prosperity was not just around the corner. In 1933, the mortality rate among World War vets was three times as great as among those who had stayed at home. Boys with a normal viewpoint had been taken out of the fields and offices and factories and put into the ranks. There they were remolded, they were made made over, they were made to about face, to regard murder as the order of the day, they were put shoulder to shoulder and through mass psychology, they were made into machines for slaughter. We trained them to kill other men with nonchalance and dispatch. We used them a couple of years.  Only this time, they had to do their own readjusting, without mass psychology, without officers aid and advice, without nationwide propaganda. We turned them loose without three minute speeches without parades. Too many of these fine young boys were eventually destroyed mentally because they could not take that final about face alone. The war racker can be stopped.  Need not be repeated over and over again, from generation to generation. You veterans listening to me now, it's up to all of us to do the best we can to prevent yet another generation of war veterans from existing. We must put ourselves out of existence, my friends.  In 1985, General Smedley Butler was again honored by his country when a group of veterans working for peace organized themselves as the Smedley Butler Brigade. That's the next story. Citizen's Troll Soldier. War is a racket by General Smedley Butler.


Enough of the Clever Games. Oh, Funny Games. That's a good movie. Funny Games? I've never even heard of such a thing. Oh, wow. All right. Let me tell you about this movie. I'm just going to stop you right there. So just what is going to stop right there? Okay. All right. Good talk. So, what are you looking forward to in 2019? Man, I have so much to look forward to in 2019. Good health. This is one of them. Yes. Improvement. Yeah, maybe. Well, I mean, everyone's hoping for that. But probably not. But I gotta be honest. Probably not. But what I can say is that I'm looking forward to seeing some great TV. Some good entertainment. Great TV shows and amazing movies. And they're coming out this year. I'm really excited. So, tell me about them, man. Give me a top 10 of the things that you're looking forward to. Man, I'm happy you asked me that question because I happen to have in front of me a list of the top 10 things I want to see in 2019.  It's like we planned this. It's crazy how sometimes these things just work out.  The amount of production that goes through this show is astronomical. I mean, I'm lucky I have my bank account is literally ends here every month. Listen, I was talking to our executive producer, Glenn and Provo, Utah. Thank you, Glenn, for, you know, helping us out here. He was telling me that the amount of pre-production that we do is exponential to the amount of pre-production of the other podcasts and video casts that he produces. I would not argue that. I mean, for one bit, I would not. We don't have any guests. There's not a lot of overhead, but the production, the amount of effort and work and, you know, the brainpower we put in to make this show what it is, it blows my mind every day. It's amazing to me the team that we have working around us, and I can't thank them enough for all of their help and their support, especially our editing team.  Our writing staff is fantastic. And you know, I'm really looking forward to working with them in the future. I'm not.  You take that back. Marcus. Marcus. I'm sorry, Marcus. What Christopher's other guy's name? Yeah.  I never see these guys, but I got to tell you, but we record an episode. It comes out like two weeks later for some reason, I'm not really sure what's going on there.  All right. Um, it was really hard to come up with because I made a list about 5,000 things and I had to whittle it down to 10. But in number 10, I have the dark Phoenix movie coming out. Ah, okay. Number nine is the dark crystal prequel called age of resistance on Netflix.   So why not go for it now? That's a never ending story. My God. Oh God. Felcor. Right. The eighth thing I wanted to see was the season two of American Gods, which I started watching. I caught it in October, I think, and I just loved it. I think it's short. I don't think there's like 12 episodes, maybe 14. We're, we're, we're, we're, it's been really good. Find American guys. Oh, what station is that on? FX TNT. No. USA. That's, that's a good, no, it's on a weird station, like epics or, uh, what? Stars. It's on stars. Yes. Yes. But I recommend anyone but you that has stars. I don't have stars. I'm not going to tell you how I watched it. All right. Say no more. All right. Um, and I think at the end of the year, um, the seventh thing I wanted to see was the Deadwood film on HBO because I was a huge fan of the TV, the TV series and, you know, it, it ended very abruptly. They just, they just didn't renew it and they never gave any closure to any of the characters. So, and I really liked that show. So I'm really looking forward to that. Oh, is this what they're, is that what the film is going to be based on? Yeah. Yeah.  Oh, that's got to be a great half for you. I think they're going to try to close off some lines. The one bummer thing about that actually is, um, Powers Booth was a brothel owner or a casino owner on that show and he's gone. But he's in season four of Agents of Field, by the way. Oh, well, that's awesome. Thank you for putting that. No problem. Um, yeah. So I'm really looking forward to that. And then the sixth thing, number six on my list was the season three of Stranger Things, which comes out in July. Um, so I, you know, I really love that show. Um, I love, it's very nostalgic. I'm really looking forward to that. That's the sixth thing that I wanted to see. Um, yeah. So, uh, what else do you want? You want to my top five? Can we get a drum roll? The Watchmen coming on HBO later this year. Ah. TV series. Yes. Yes. Yes. You know, Damon Lindelof has his work cut out for him this time. He's tackling one of the all-time great comic book series. You know, and after Zack Snyder's three-hour literal page of film adaptation, which I did love, this should be a fresh take on the, you know, on The Watchmen and with the backing of HBO, hopefully it gives us another reason to watch the same guys that brought us the Game of Thrones, Westfield, Edward and the Sopranos. So, you know, I'm really looking forward to this because I loved the movie, even though it was dragged, but I loved it. And I loved Damon Lindelof, you know, from Lost fame. And he did that thing to the leftovers too. Um, so I'm, this is going to be great. I'm really looking forward to it. The fourth thing I'm really looking forward to this year in 2019 is Captain Marvel. Yes. Boom, yeah. Coming out on my birthday, Mark Jeth go see it, the film, and celebrate my birthday too at the same time. Captain Marvel, the strongest and most powerful hero to date in the MCU is about to be unveiled. And it couldn't come at a better time for our heroes, you know, the Avengers. You know, Captain Marvel, it's an origin story and it's safe to say that, you know, Carol Danvers' introduction will have long-lasting implications of the MCU, hopefully. I mean, that's really what all the indicators are saying. And with the rumors of multiple films in our contract, you know, it sounds like Captain Marvel could be the leader of our Avengers in just a few short months. Nicely put, nicely put.  We spare no expense. Spare no expense, just like Jurassic Park. Spare no expense. Number three, Avengers Endgame, yes. Number three for me and that's going to be a huge surprise. Oh, my gosh, man. I know, you'll see when you get the top two. You'll know why. All right. Lay it on me, lay it on me. The answer to the cliffhanger film of 2018 is almost here and I'm kind of pumped for it. With so many of our heroes dying from a decimation, which is now, that's the official term for it, it's a decimation in case you didn't know that. It'll be interesting to see how some, if all of our heroes come back. And with the introduction of Captain Marvel just three months prior and Spider-Man far from home three months after, you know, another question, could the MCU start to lose some of its power? I'm guessing not, though. Number two, Star Wars, episode nine, man. What? How is that number two? I don't, I mean. Oh, my gosh. Because it's not number one. That's not number three. Well, okay. I don't know how else to explain it. That's some solid logic right there. Right. I mean, it's not anything else. It is number two.  Especially after some of these whiny bastards who are mentioned about the last Jedi, you know. I don't understand it. I still don't understand it. I don't get it. I love that film. But anyways, you know, after the last Jedi, you know, JJ has got to find a way to unite all the fanboys and he's got to, you know, put a nice bow with Carrie Fisher and tie up all these storylines. It's really going to be interesting to see how this works out, but that's number two. And I'm the biggest Star Wars fan you're ever going to see. Yeah, that's why I'm surprised it's number two. I know, but you know, what's number one, Matt? It's dear to my heart and it will be yours too when it comes out. It's the last season of Game of Thrones and... I'm excited. I'm excited for it.  It's getting, just talking about it's making me excited. We've waited almost two years. Game of Thrones will be back and we'll be ready to finish off this series. Winner's here. The wall has fallen. Sanctions are coming. Sanctions are coming. Jon and Daenerys hooked up. Jamie ditch Cersei. Littlefinger finally died. Thank God.  Hopefully one or two maybe can stick around, you know, wet our appetites for years to come. So that's it, man. Nice. That's my top 10 right there. Matt, what do you want to see in 2019? Number 10 is Shazam. I'm a huge Zachary Levi fan and I had been. I watched every single episode of Chuck. I'm excited to have some levity in all of these DC movies and hopefully that, you know, this character will be able to bring it out. A little bit of comedy. Just a scotch. Speaking of something that's not going to be bringing levity to anything, number nine is Punisher Season 2, which we just found out is going to be coming out on January 18th. So I'm looking forward to it because I was just talking to myself today. I got to watch the first season because that's coming out soon. You need to. When you watch the first season, you need to plan for it. I'm going to have to do the same thing with Punisher Season 2. You're going to have to plan for a week afterwards to be extremely depressed because it is not a happy show whatsoever. But I'm looking for a job in Berthels just encapsulates everything that the Punisher is. So I'm really looking forward to that. Number eight. Number eight is something that is omitted from your list. Yes, it was. It was not on my list. Spider-Man Far From Home. I'm really looking forward to seeing Mysterio. He's a very interesting villain. Jake Gyllenhaal is a great actor. And I'm really looking forward to the whole shield being folded into the Spider-Man. Number seven. Stranger Things 3. Huge fans of both seasons. And one of the best things about... What? What are you talking about? Dude, your computer has Tourette's. What's going on over there? One of the best things about Stranger Things is that I get to watch it with my daughter because she's as big a fan of Stranger Things design. That's cool. Yeah, it's something that we can sit down and enjoy together. A little bonding time. That's cool. Exactly. Number six for me is your number one. The Game of Thrones season eight. See, I came into Game of Thrones very, very late in the game. I started watching it and I think you started making me watch it in July. And you kept hounding me and hounding me and hounding me. You're like, how far are you at? How far, like, how I am right now with you with Agents of Shield. And I finally finished it. And I'm very glad I did. It is a very, very good show. I am very much looking forward to the final season. But I don't think I have the same... I'm looking forward to it, but I don't think I share the same enthusiasm as people that have been with it from the beginning. Does that make sense? There's something about watching a television series as it broadcasts and you go through the weekly emotions of not knowing what's going to happen, right? Yeah, exactly. It's part of when you get to binge-watch a show, you get the immediate satisfaction of knowing what's going to happen. So, yeah, I kind of get it because you don't get all the little emotions, you know? Yeah. But it looks to be phenomenal. And I'm really looking forward to the fact that every single episode is going to be a feature length. So you get 90 minutes of content every single time it comes on. My top five, number five, is the Joker. Joaquin Phoenix, I'm looking forward to seeing what he can do with the character. I'm very hesitant on the whole origin story thing only because the Joker has never had an origin, like one of his biggest long-standing runs is the fact that, you know, he has a different story every single time that he tells it. And so that always made the character interesting. And now they're giving him a finite one, so I'm not really sure about that, but I'm kind of optimistic about it. And I'm looking forward to seeing what they can do with a character, a comic book character outside of a constructed universe. I'm just looking forward to watching a single movie, kind of like how superhero movies used to be, where it contained nothing else influenced it. So I'm looking forward to that. Number four is the season six of Agents of S.H.I.E.L.D. because it is still my favorite television show. I want to say more stuff about it, but you're watching it currently, so I don't want to spoil anything for you. Yes. Jeff Ward was announced as a season regular, so I'm excited about that. Number three was your number two, Star Wars episode nine. I'm excited for all the same reasons that you are. It's harder not to be. One of the biggest things I am, I'm looking forward to is just the culmination of this whole Skywalker nine film saga. Right. It started in the late 70s, and it's now 2019. I have a feeling the MCU could be so lucky to be able to pull off something like that. You know what I mean? Yeah, I know what you're saying. George Lucas took time off from making those movies, so this story could have been done by 2000. I mean, if you really think about it, Marvel Studios has been around for what, 10 years? And this is film 21 or 22 they're going to come around with? Or Star Wars started in what, 75? 76? It could be in 10 years, it could have been done by 86. So by the time we turned the Jedi came out, they were almost done. I think it's more anticipated because it's taken this long to get to this point. Yeah, exactly. It would never have gotten to this point if Disney wouldn't have bought it because George Lucas wasn't making more. My number two is Captain Marvel. Of course, you know, we've talked about Captain Marvel at length. I'm just really looking forward to seeing the most powerful superhero in all of comics. I mean, yeah. On screen. And I'm looking forward to seeing how they incorporate her. I'm looking forward to seeing Colson again. I'm looking forward to seeing Nick Fury with two eyes. I'm looking forward to seeing how they do the Crease Girl War, how this ties into my number one pick, which my number one pick, of course, is Avengers Endgame. You could have seen that coming a mile away. I can't put into words how excited I am about this movie. It's just the best comic book storyline, some of the best films that are coming out with the best writing. I mean, there's really nothing that can go wrong with this film.  But I trust in... In fighting you trust. Yeah, I mean, it's hard not to. They've nailed it every time so far, and why would you not trust them now? Anything can happen. What you don't want to do is you don't want to end up with Kingdom of the Crystal Skull, all this anticipation. Oh.  Why are you burning bread like that, man? Geez. I'm just saying that you don't... That's what you don't want to happen. Kingdom of the Crystal Skull was just a continuous looping of jumping the shark. It's like, hey, we don't think Harrison Ford can really lead the whole thing. Well, you know, maybe we can transition to a new Indiana Jones. Well, let's get Shia LaBeouf. He's going to be great. He'll take over the role and become the new Indiana Jones. But wait, it's his kid. Right. Yes. But no, Margot Kidder is going to be in it too. And it's going to be her kid too. That wasn't Margot Kidder. Yeah, it was. No, it wasn't. Did you watch that movie? I will accept your apology in five... Seven, four, three, two, one. Karen Allen.  That is not Karen. I knew you were wrong. What? Margot Kidder wasn't Superman. I might have been working. She pays Marion Ravenwood. Man, have I been living alive this whole entire time? Boom, boom. Yes, and our sister's hair is not blonde. This is going to really bother me. Have you ever been around one of these loud typers? Let me tell you. Man. Oh, Lord. Oh, my gosh. Dude, I've gone my entire life thinking that was Margot Kidder. Matt's head has just exploded. Oh, my gosh. You can see it right now. This is crazy.  Wow. Don't ever say you owe me an apology in five seconds. Actually, I think you owe me an apology in five, four, three, two, one. And folks, we are out of time. Out of time for the week. Folks, we're going to go. We'll see you at StarCade. This was fun. Quick and dirty. You wait, Swimby. Oh, man. That's right. That's right. And don't forget, you can reach us on the tortas at the weekly bros. You can also hit our D up at rock and the D. You can hit me up at Miss Linney's debris with two underscores. You can email us at realweekweekbros at gmail.com. Once again, that email is realweekweekbrosatgmail.com. I'm sorry. There's something going on over here. I don't know. I don't know what to do. The cat walked in the keyboard or something. The computer has threats again. Oh, man. I'm telling you. I don't know what else to do.


What did a hoo-hoo do? They made refills, which is a game changer if you use alcohol markers as much as I do. Pretty cool.