Okay, without further ado, I'll introduce our speaker and let him tell us what he has to say. Our speaker today is Doug Bailey, Professor of Visual Archaeology, correct? In the Department of Anthropology at San Francisco State University. He probably would not object if I said he's a determinately eccentric archeologist because while he does the standard things like field work in the Balkans, including with Ruth early on in Bulgaria and then in Romania and all kinds of interesting and creative ways and has interest in things like neolithic settlement and figurines. It's probably fair to say that what really is his intellectual passion maybe more centrally is expanding archeology and trying to find new work for archeology. And we'll hear about a lot of that today, but particularly the boundary between archeology and our history and how archeologists can be doing sorts of things that actually involve new sorts of production in our own society. Maybe that's a fair way to put it. But we'll hear all about that because he's going to give us the intriguingly entitled talk, art slash archeology, a space beyond explanation, the ineligible project. So before the police come and declare an alto, I better turn things over to Doug so that he can tell us what he's been up to. All right, great, thank you very much. Thank you, fabulous. It's always interesting to hear one's introductions.  Okay, so I was just saying to Ruth that the first sort of paper I ever gave at a invited paper was here at Berkeley and my son was eight weeks old and he sat in the corner and stole the show. He's now 27, so that's a little bit of a time check. All right, so what you're gonna get today is fresh right out of the birthing pool about a project I'm working on, well, other people in this room are working on called actually the title of the project is Ineligible. Although we tried to get some funding recently and they approved the application, but the title, because the title was called Ineligible, they didn't contact us because they thought we were ineligible. We did get the money eventually. All right, here we go. So I'm fascinated by the relationships between art and archeology and they're all kinds of relationships. So there's a good history of artists who've been working with archeologists or working as archeologists. There's also a pretty good history of archeologists making art. There's nothing new about that. And much of the work that they do is like, ooh, that's quite cool and I'll show you some examples in a minute. But I'm suggesting, I've suggested in a couple of publications in the last three or four years that this is subject bounded and I'll explain what I mean by that in a minute. And so what I've been investigating, exploring, examining, experimenting with is a series of projects that move beyond those boundaries. And trying to come towards something which I'm calling an art archeology, which is an effective political practice. So we could all do an archeology of art. In fact, I made my career starting out as someone studying prehistoric art and we could do this and fabulous work, really important work. We could, here's Mark Dion's tape. Time is big, if you know about this work. Mark Dion, artist, went along the banks of the Thames when the tide was down, collected objects and created a faux archeology, pretended to be an archeologist. In fact, he talks about this as being a dilettante. I'm not talking about this work. We could look at this guy's work, Simon Calary, an artist, British artist. I went and worked with archeologists on a site in Britain and was fascinated by the trenches that archeologists were digging. And so he filled in one of these, or surfaced one of these trenches with plaster. Then took that plaster away and made an artwork, made a piece of art that is a representation of that site. And I find this interesting. This is interesting work. Not quite curious, it's exciting, it's a different take on the past. But it still sits within boundaries, disciplinary boundaries. We could look at Aaron Watson's interesting photographic work. This is his representation of a prehistoric stone circle in Britain. Again, I'm fascinated by the way in which he is manipulating or mediating or remediating that site in a way which is outside the boundaries of how we usually understand archeological description and certainly archeological explanation and interpretation. But really the aha moment, which I didn't realize I was having it when I was having it, was in Portugal in 2000 at an EAA conference. And there was a paper, it wasn't a paper actually, it was a sound event. And this is really hard to hear. We've got it cranked all the way up and I'm, so if you just stop chewing your Pringles for a second. You all hear that? This is a composition made from sounds of prehistoric stone tools. So there's no attempt here to say this is what happened in prehistory, although Ian Cross and Ezra Zubro do publish about that. They call them lithophones. This is actually making creative work today using objects from the past. And I heard this and I was like, whoa. This is not about explanation or interpretation. This is creating something brand new, which sits outside of the boundaries, both of archeology and I would suggest of music and of art. It sort of works in a third space. Here's another piece of work by the British artist, Claude Heath, who does something he calls blind drawing. I don't know if that's a politically correct way to call it, but that's his term.  So his sense of that object is only through touch. This is his reading of the Venus of Billendorf. His interpretation of it, if you will. It's an artistic output. It's creative. Doesn't intend any interpretation or explanation, but this excites me. I have weird interests, as you can see. We took Claude to Romania on a project we were running funded by the EU and we asked him, we let him loose in the museum and he made a series of works doing this technique of blind or unsighted drawing. So this is his artwork based on that half, that half did Neolithic ads, the lithic ads from 6,000 or 4,500, 5,000 BC. We came back from the field one day and he'd taken early Neolithic core, beautiful blade core, probably 5,900 Cal BC. He put it in a bowl of ink and then took it out and started making art with it. We were worried the museum were gonna throw us out. They didn't. Luckily, they were into it as well. So there are lots of other examples I can show you of Claude's work. Some of you will know a project I worked on 2009, 2010 called On Earthed based in the UK at the University of East Anglia, Norwich, which we were trying to work with figurines, my area of interest, specialism, both Balkan, East European, but also Japanese Jomon prehistoric figurines. But the goal was really to do it in a different way, not to just write a catalog of an exhibition and present explanations and chronologies and typologies. So we had an exhibition in which we mixed and matched prehistoric artifacts and modern cultural material like Barbie dolls, bonsai trees. We had an exhibition, published a book, and I won't spend too much time talking about that because I've done that here before, but just to give you one example, this is the work of Sean Caiton, a British performance artist. We gave him to hold these Jomon Japanese prehistoric artifacts and said, go for it, make work. And he made these beautiful paintings and pastels and gouache and all kinds of things. And he also wrote this wild narrative. Heavy, filmy eyes, fervid and gluey slumber. Then the bottom, blood spirals, milk spirals, sperm spirals, mix and spin. Well, the museum there wasn't into this. Good thing they didn't control the publication. So the book exists as this strange mixture. So things are starting in my mind of ways, new ways of working with materials. Same project, Unearthed in the Norwich exhibition on the book. We gave some of these figurines to a Japanese photographer, Kuo Shimatsunaki, and he decided to make negative prints of them. Sure, why not? But the coolest thing is that he sort of activates these objects in ways which they've never been activated before. They seem to have life and light spilling out of them. Unexpected result. Doesn't have any interpretive explanatory. It's not about publishing a journal article, but it's actually fascinating work, which I think Probe pushes us beyond boundaries. Other work, I've published a bunch of weird montage chapters in otherwise traditional archeological anthologies and played with ideas of text and image. Again, not to make an argument in text, but to probe and expand the dimensions of what we do and how we think. And the most recent of those, there are four or five of them in publication. The most recent one came out in this book. Has anyone seen this book? It's out recently. Time and history and prehistory. I did something really strange with how different animals perceive the passage of time. And then throughout the article, all these footprints, it's crazy. Just check it out.  And I wanna show you one other project which I worked on before I get onto this new project. So I'm just trying to set the scene now a little bit. I was running a project in Eastern Europe, in Romania working in early Neolithic pit houses or pit structures, funded major project. But as we moved through the project, I felt less and less confident that what we were doing, it's perhaps held any validity. That I can write a book and articles about what happened 6,100 CalBC years ago. So I ended up writing a very different book in which I looked not at pit houses but at the process of cutting holes. And I looked at three major artists, Lucio Fontana, Italian post-war artists who was famous for slashing and puncturing canvases, Gordon Matta-Clark, American artists in the 60s and 70s, and his work in Paris, Conical Intersect, in which he cut holes through buildings, and the work of Ron Athe, whose performance art in Minneapolis, St. Paul in 1994, in which he cut the back of African-American man who was HIV positive with a razor blade, and symbols loosely tied to African tribal marks, blotted the blood with paper towels, then ran the paper towels on clothesline out over the audience. Almost led to the defunding of the National Endowment for Arts, but fabulous work. So all three of these artists work on cutting holes and surfaces, and that's another project. There's a book out there which you can check out if you want to.  But I realized that this really wasn't enough. I'm still within the boundaries of my discipline. I'm still within the limits. Since the book was about cutting holes in the surface, in the ground, whether you're in the Neolithic, or whether you're in post-war Italy, or whether you're in Paris, I decided I had to cut the book. So I made 50 artist versions of this book, which I cut holes, various holes through different parts of the book to make the point that we can write and talk about these things a lot, but until we start doing stuff, making things, we're still within our disciplinary boundaries. And there's nothing wrong with our discipline. I'm just trying to look over that wall. And so I sent a bunch of these out, and Ruth, you have one of these, don't you? How is that possible? I'm sure, I offered to send you one. I cut her out, thank you, that's excellent. Perfect, man. But then I realized I needed to do something else. Because I think if we write about stuff, like action, agency, whatever you wanna talk about it, you gotta find some way to do it. See, if we're writing about the impact holes have in the ground, or in a building, you should put some holes in your work and see what happens and see what the effect is. I found that a lot of what I wanted to do involved going out and making things happen, as opposed to just perhaps talking about it. Okay, enough about me. Had an email from a Portuguese sculptor about four or five years ago. She was doing a dissertation, PhD dissertation on the interaction of art and archeology. And she'd read a few of my things and she sent me this email and said, would you mind looking at my application for my PhD? Happy to have, you know, we get these things a lot. And depending what time of day they come in and what day of the week it is, you say sure or not. And I think for all graduate students and young academics, always say yes. Because you never know what's gonna happen. So this woman is making these outrageous over life-sized versions of these prehistoric Romanian figurines. And that in itself was cool enough. But she and I are now curating an exhibition which opens in Portugal on March 6th, runs to the end of June. Which is gonna have three installations. One of them is of her work. So check this out. She made this incredible figurine incredibly complex. If you're a ceramicist, try to make something that large. Before she found, before she tried even to fire it, she decided she should break it into pieces and cut it up. So she did that and then she's fired the pieces. And part of her installation is gonna be about the pieces of this figurine which never got fired. Don't know what's going on there. But I'm excited about the stimulation that that brings to me in thinking about what we do. We'll get back to Sara Navarra's work in a minute. More recently, anybody go to tag in Syracuse? Excellent, I can say anything I want. No one will. Was it a session about art and archeology? So I said, well, what should we do? I had started working with artifacts from San Francisco. Specifically those excavated before they built the Trans Bay Transit Center. And had been given 52 boxes of these objects. And we'll talk more about that in a second. Anyway, this amphora came from the excavations. Paleo West, I think the company's called Paleo West now. I think it was called something else before or it's changed its name. We didn't sell it. That was before, thank you. Anyway, so a bunch of artifacts they gave to our university as teaching our research tools. And this is one of them. So I took this to Syracuse and I just wanna play the little video that's on Vimeo at the moment. I can see it's a real-term storage vessel. Oh, no, why is it not on the screen? Oh, because it's a link.  That would really be a bummer. But if not, don't worry. Well, I, so, yes, and then run it here. Drag it out of the window. If I come out of PowerPoint, which I'm out of. Okay, and then I drag the other screen. If I go to my, there we go. There, how's this? Turned storage vessel from shipping. So we can look at in terms of World West Park and Law School study. We can look at the issues of trade and transportation in terms of materiality. But as I lived in San Francisco, and as I was flying out from a mess or oh, I don't know if you guys can fly around a lot, but this is like a new luggage. This is like an, almost like an amphora today.  People are picking home. So I thought what we should do is insert one of these amphora into another. And I think that that's in the beginning, but I also feel that what we should do is perhaps do something else. And I think what I want to do is I'm excited by all the work I've been releasing things. So I don't want to write too long to suggest what I'm doing for you. Okay, we don't need any more of that. I think you get the idea. Let's pop back to here. Slide show, play from current slide. And what we did with the amphora, we're on, is that people at the session adopted shards and took them home and then started to respond and send in, in fact, Ruth, I think this is your- That's my Sophie. That's your little shard there. There's one looking over the Hudson. I'm not quite sure. I think that's Randy up in, Randy and Ruth up in Binghamton. And there's a Facebook page where people send in their pictures about what their shards are doing today. Yeah, I don't know. So all of this was sort of interesting and exciting, but it really didn't get me to the place, I mean there was something missing. So I went back to some work I was just publishing at the time. This is an article that came out in 2017 in the Cambridge Archeological Journal, which I've tried to define this thing called art archeology, which I'm interested in doing. And it has three principle moments. Disarticulation, you break the object from its past. You remove it from that currency. You say it's no longer of value as an artifact or even an element of the past. You then repurpose that material. You treat the result, the broken shards of that pot, as raw material. As if you're an artist. As if you're using pigment or plaster or marble. And then you make a piece of work. You create something which has some disruptive potential. You make work that intervenes politically in some issue or debate. And perhaps the best example of this, although it's not archeological, comes from Kent Monkman's work. Does anyone know about Kent Monkman's work? Okay, thank you, good. So if you went to Stanford Cantor Museum two or three years ago, you would have seen this beautiful painting on the wall. And we're used to this sort of art historical tradition, right? And this is Monkman's work, history is painted by the victors. It's this huge landscape, American West. Yeah, 18th, 19th century.  This is of this incredible tradition of the empty landscape of the West. But if you look a little closer, there's some weird stuff going on here. Now Monkman took an original object, Albert Bierstadt's painting, disarticulated from its context, repurposed it to make his own painting, which then had a really quite specific political intention. Because if you zoom in at the strange painter in his or her, hip-high almost leather boots, and you look at the screen, or the painting, this, well, Miss Chief Egotistical. Miss Chief Egotistical. This is Kent Monkman's alter ego in his art. And among many other issues which Kent Monkman has engaged has been the Euro-American destruction of this continent, specifically in terms of sexuality. And this painting is important because it's the Sue Artists Red Horses, 1881, work about the victory by the Lakota at the Battle of Greasy Grass, which we may also know as the Battle of Little Bighorn. But of course the painting is ripped through with all kinds of other imagery, which make important statements about homoeroticism, about the exclusion of native and non-traditional sexual categories of gender. So Monkman is a really good example of doing this three-part thing. Disarticulation, repurposing, and disrupting. Let me show you another project, and this I talked about at length two years ago when I was here, so I'll just give you a couple slides, literally slides. It's a box of our archive from San Francisco State had a huge ethnographic anthropological archive there. Much very long story about how it was closed down through incompetence and lack of funding, but there was a set of slides which someone tried to throw away when this museum got closed. And we took those slides and looked at them and realized that the slides had been selected for a really specific set of, one might say, disturbing image sets. To do with, as an anthropologist, as a visual anthropologist, a tradition of anthropology, which we no longer practice, of head shapes and face shapes and ethnographic origin or sexual orientation, dissections of animals, x-rays of nine-month pregnant women, very disturbing dissections up at the top. And the question was, what do we do with these objects? And one of the result over the thing that one of the ways in which I dealt with this is to take these objects just like that on fora and to suggest that we needed to release them from the context, from the containers in which they were being held. And so at a project funded by the Norwegian Academy of Sciences in Oslo in 2017, we dissolved in bleach a lot of the images off of the plastic supports of these slides in a way of trying to liberate those individuals who had been trapped within that archive. And there's a whole literature on archives and releasing, which we can talk about perhaps some other time. But what we realized when we were doing this, and this was not our intention, we had no idea, but as the bleach removed or liberated that pigment, the dyes from the plastic support of the slide, it was almost as if that individual was being transposed into another medium, into a liquid. And the more we thought about this, the more we started to think about how that individual was being released back into some other format out of that entrapment in an anthropological study. All right, so that's been 30 minutes of getting us set up. Now I wanna talk about this new, so all that stuff is done, we can talk about that some other time, there are publications out there. I wanna now talk about this project called Ineligible. Now as all of you who live here know, there's something called the Transbake Transit Center, which is now reopened. But of course, in advance of its construction, there was a series of archeological excavations. In fact, there's an image from one of the trenches. And the material from that excavation was processed appropriately, detailed report written up. In fact, that's the offices of Peleo West in Walnut Creek a year and a half ago. All the boxes, many of the boxes from this site. And in working with these materials, and this is not something that would be new to many of you, there were determinations made by authorities, by people with archeological knowledge and experience, but what objects should be retained for study and those which could be stored or gotten rid of? And those that could be stored or gotten rid of were deemed not to have historic value or duplicates, and they were called Ineligible. Christina Alonso, who had done the master's degree at San Francisco State, was working at Peleo West and offered us some of these materials as teaching aids, fabulous resource. So we took loads of them. In fact, I'm here, I'm not in the picture, but I'm loading 52 of these boxes in the back of the U-Haul van to drive across the bay to put into a room in our department. And then we started working with the students about how you categorize these objects, how do you process them? And here we are, we're now in San Francisco State, we've got a group of students, in fact, there's the Amphora, you can see it. Yep, right there. But there are lots of other, lots of interesting objects, but all these deemed to be ineligible, not of importance for the report or for the knowledge of San Francisco, et cetera. At about the same time, I had another email from my Portuguese sculptor friend, Sara Navarro, she said, I've just been contacted by the museum, this museum, it's the International Museum of Contemporary Sculpture in Santo Terço in northern Portugal. Would you like to co-curate an exhibition with me? Something to do with ineligible? I said, absolutely, absolutely. I said, what are the constraints? She said, there are no constraints, you can do anything you want. So quickly, we put together a set of kits, assemblages of those objects, and sent them out to people, to artists, to archeologists, to creators, to interested parties. And we said, here's the list, the instructions that went out with the objects. We asked people to take these objects and treat them as raw material, as if they are pigments, or sand, or marble, or wood, or acrylic, or oils. And to make any work you want, but it has to engage in some way, either with San Francisco and its current energies and problems, like the tech revolution, disenfranchisement, homelessness, or houselessness, or it has to engage with one of your own personal reaction to the assemblage, or to your own personal, professional, or local political experiences, desires, and frustrations. We said, I want you to make new work using these objects as raw materials. Had no idea what's gonna happen. No idea.  So I'm not gonna spend the last part of our talk showing you the stuff that's just come back. And literally, some of these images came in by email yesterday, so I hope I got it in order. We sent some work to Lena Host Madsen and Thomas Anderson is an artist, both in Denmark.  And as you're gonna see, those students working in our lab at San Francisco State processing the materials, I said to them, rip them out of their context, throw away the tags. I want you to rearrange them just by material. So what did Lena Host Madsen and Thomas Anderson do? Well, they had a bunch of pipes and they're medium with sculpture, so they made something called pipe fruit. And I'm gonna read out what they said. This is all they said about it. I said, I got a number of old pipes from the train station. The result was this fruit from the pipe tree known to grow in Central America. They're now pretty rare. Okay, I'm sort of in an interesting shape. I can see something like that in all the galleries in Berkeley and other places. Next set, sent out to Vanessa Woods. Vanessa Woods is an artist here in San Francisco. And there's some of the artifacts, the assemblage we sent out. And she made these collages. And I'll read what she said. This is her text writing about her work. So she treats herself in the third person. The collages that Vanessa Woods created for an eligible played with subversion, classification, and fantasy to imagine a lost civilization that lived where the San Francisco Trans Bay Terminal is today. To create this work, Woods combined collage material from diverse histories, cultures, and populations with high resolution scans of the archeological artifacts and bones. Using anthropological methodologies, the work also aims to explore the idea of other and the tradition of Western ethnographic interpretation poised between scientific objectivity and moralistic storytelling. Invented idols, imagined rituals, and reconfigured symbols collapse fact and fiction. Here's an assemblage we sent out to Cynthia Nunzio, an independent artist in Lisbon.  She's a weaver, so she created a tapestry in which she inserted many of these materials. Here's another set of objects sent out to someone in this room who made a work called The Passage of Moving Through. It's Ruth's work. And I'll read one short quote from Ruth's extended text that she sent me. Obviously I'm thinking about the challenges and disappointments of immigrants globally and especially in the US. The 1913 newspaper skin contains articles that mirror this and other issues, such as the glass ceiling of employment promotion and career paths for women and other minorities in the workplace. In which a hopeful start and apparent progress are stifled by locked doors through which only a few, those who can reach the keys can pass. Here's another set of work sent out to Gavin McGregor. Gavin McGregor is a British archeologist. Should I find my notes? Here we are. Yes. Gavin McGregor took these objects and of course he broke them up and smashed them, created a piece of work. You may recognize this image. The snow globe, playful, a light mesmeric flurry, perhaps evoking childhood memories, but the material is too dense to float. It rapidly sinks to the base and affronts the promise of cost-free pleasures. May lead to short-term disappointments of frustration. He goes on to write in more detail about the role of the snow globe and the imagery he uses. Here's another one called Decadence by Jessica Bariña, who is at the Faculty of Fine Arts at the University of Lisbon.  So Jessica Bang mashes up these ceramics, mixes them with cement and other materials and is making a series of building materials, bricks and pillars. And she writes in detail, I won't read out now for lack of, we don't have enough time, about the ways in which buildings and walls in Lisbon are being torn down and rebuilt to erase local historical traditions. Here's another one, Colleen Morgan of this institution but who's now at the University of York. She received this object and, whoops, let's see if this plays. Now it doesn't hang on time out, so I'll come out of this and let's go into this and let's hit it here. Children's art and more of a different art. She took the leather fragments. And gave them to different people to speak about them, to tell stories about them. In fact, by the end, she is, so Colleen Morgan's work is a piece of video, a bit of performance, if you will. And there's a longer text that goes with it, which I won't spend the time to read out in full at the moment. Okay, I'm gonna skip one or two of these just for time. So I wanna get to this guy. Remember the person who did those strange drawings in pastel with the words about blood and sperm, Sean Caton, sent him this set of dolls. And this is the work he made, and I'll read out if I can find it. Yeah, he says, this is a short film loop, which uses figurines called frozen charlots made in Germany in the mid-19th century. He talks a lot about the ways in which bodies, female bodies, children's bodies are exploited and presented through different media. A couple more I wanna show you. Alfredo Gonzales Ribao, for many of you who followed his work, I hope. And I will read out the text for his, if I can just put my hands on it. Yes, I can. So Alfredo takes these keys, I'll just paraphrase for you, and he takes them out into the landscape. And if you know Alfredo's work about the Spanish Civil War, he takes these keys and works on this concept of key. It goes to a famous site of massacre in the Spanish Civil War, breaks the keys up and buries them in the ground. And there's a much longer text and a much longer, so there are 18 different photographs. So again, took an object, disarticulated it, made new work which had political importance in state. Okay, two more examples. This is a work by a Finnish, I guess a PhD student actually at the moment, Marco Merila. And his work is called The Hum. We sent him these bones, and of course he crunched them up, took the crunched pieces, put them in little cups, put them in 800 degree centigrade oven for two hours, ground up the bone results, so all fitting with the art archeology thing. And then his creative work, I think I'm gonna have to come out of this again, but let's see what happens. We come out of the, so this is his work in which he titles The Hum. And while this is running, let me read what he says. Well, I won't let you listen actually. So obviously that dust is the ground up burnt bone, and he's fascinated by this concept there, that there is some noise that exists at all time in the world, in the past and the present, in the prehistoric past and in the modern present. And he's making work with that noise and with these objects. And I wanna finish with one example because I wanna leave a few minutes for a conversation. I'm gonna go to the final one, which was our title slide. So these are the bones we sent out to, or the objects we sent out to Laurent Olivier in Paris. I think many of you may know Laurent's work. And this is what he wrote upon receiving these objects. And his work is called Remember Wounded Knee. When I saw those brown bones all alike and industrially butchered, I was stroked by their strange blind faces deprived of mouth. I put them back on their feet. They are standing, asking silently for something into a savage language that we can't hear. They are the invisible victims of this unbearable violence that turns the earth into a desert and people into nobodies. They are the ghosts of the American past, the evidence of its present. This is the terrifying face of this country, which is so full of rage and defiance, the immense sadness of its landscape, which is inhabited by sorrows and distress. This is Wounded Knee, the huge red stain on the stars and stripes that no one sees. All right, I'm gonna leave, that's my last example, but I will say that there are links to a website called Art Archaeologies, where much of this work is and where more work is uploaded every week. There's a Facebook page, which provides highlights and notifications of new work being posted on Art Archaeologies. That's just the Facebook page, Art Archaeology. You can find me at DW Bailey, it's SFSU.edu, or you can get me through my department. So I've left three and a half minutes for discussion. I hope that's not too little. We can pop the lights up, thank you very much. Yes. In its place, because many of the moves that you illustrated in your examples to me were as much about the articulation of things which do not belong together as they were the breaking up part for decontextualizing of things. And I think that decontextualizing things has a particular political place, especially in conversations about history and identity, et cetera. And articulation is being used, for example, by indigenous scholars as a way to reclaim some things that have been erased. So I wonder what you think about. I think you're absolutely right. So I think once the disarticulation happens or the decontextualization or the breaking off, then anything is fair game. And yes, this is a lot of juxtapositioning and articulation. And to be honest with you, it's a little bit of a cheat because there is an undercurrent which still drives the power of some of this, that this material came from something which is old. But I completely agree with you, yeah, absolutely. Yes. Okay, in turn. As someone who has cherished and worked with antiquities for 50 years, I think it's audacious to destroy anything you find without any respect for the fact that it's lasted that long. Gali took fragments and put them into beautiful works. You're destroying things. Why?  I respect that opinion. Ruth. I have two responses, actually. One to yours. But one of them is about that these materials, what would have happened to these materials, these ineligible materials if they hadn't come to San Francisco State. And it's about what do we do with all these materials that are excavated. Well, and it's something that we're very sensitive to having just got rid of a lot or we're involved. No, no, sorry, that's a secret. That's a question of that question. Anyway, it seems to me when I saw those boxes at San Francisco State, my main thought was, come on, what are we going to do with all this stuff? Right. What should be done with it? And now I'm thinking about my own thing, which is too big for the discipline and anyway, it's not a very hygienic thing that being based in wood, living, almost living wood. So, you know, do I, what do I do with that? Where do I put that? I can't just put it in the garbage bin. I mean, I like it, I've recorded it, I've documented it and so on. What do I do with it now? So that's one of my things so that, you know, you can't keep all the old and so old antiquities. Right, so could we deal with that one first? Yes, yes. So yeah, anyone who's run any excavation, millions and millions of objects. Many of them we decide are go into a box and go into a storage and maybe a PhD student will come along, but the reality of that I think is that I have thousands, tens of thousands of objects in a museum in Romania. I convinced them to keep all the coursewares. They're sitting there and they will sit there probably until that museum falls down. It's a fundamental problem and I think it actually asks an existential question about archeology. What is it that we're doing? Why are we doing it? Are we justified in doing it? Are we justified in doing all that we're doing? Because those are more responsibility when you excavate a site to curate that collection. And funny, when I've given this talk in earlier iterations of it, some people feel relieved that oh, here's something which these objects can be used for which has some value, an artistic value that they're finding a place for whatever, whether that, and it is disturbing and I'm sorry that the former questioner left because it's a really important debate. And I think it's a debate I'm engaging and I'm excited about engaging and I am, it's me. Okay, you go, but this is an issue. I didn't know that there is a good answer to this but I think we need to be talking about this. There isn't a single answer. Right, there isn't. So Paleo West was excited to get rid of this stuff. Whew, someone's gonna take it off our hands and they signed the paperwork legally to give us the right to use it as teaching research. I said what I was gonna do with it and they said wow, that sounds interesting. Send us a link, put us in the credits. Yes. On somebody's property or the city of San Francisco's property. Well, I think there are a whole bunch of different properties that Transbay exists on, right? Right.  I mean, so why did these things not go back in the ground? Have you been to the Transbay Transit Center? There's no ground to put them in. Well, there is some ground somewhere there. It's still a place. Christina, that's absolutely a good idea to reap. I don't understand why Paleo West. Paleo West. But own the stuff, I mean, that's the part that's... Well, I would have to look at the legal documents that they negotiated with the city. When you dig something. Yeah. So the reason, the fascination about type... Sorry? They don't... No, no, they didn't say that. They said, you will decide as a professional archeologist what is eligible to be retained and studied and presented and curated. By making that decision, you're gonna make create a category called ineligible, and no one cares about that material. And what I'm saying in calling the project ineligible is that, wow, there's a potential ineligibility to make new things, to create new things, which doesn't fit in the archeological logic or an archeological ontology of what we should do. I completely get it. It doesn't, I don't want it to fit in that. I'm looking for some new space, which turns its back and violates some of the norms, which I respect those norms. Yeah, and that's part of the date. That's part of the argument, the danger and the reaction. Yeah, I wanna get outside of that ontology. So there's been a hand up in the back for ages. Yeah, that helps. Interesting, yeah. You select based on your interest or your interest. When I started talking to artists about this, they said, this is how artists work. We're gonna tell you what we wanna do. We're gonna tell you the theme we're gonna work on and we're then gonna select the materials we wanna use to make that work. And I said, okay, I'm not doing that. I'm doing something which is outside of the artistic ontology of how you plan to do work. And some people said, we don't wanna do that. And I said, okay, I'm with, no worries. So we made a selection based on material, based on physical material. So all the rusty metal bits are in one big container. All the plates are in one big, all the bones are in the big container. That's what the students were doing. They were disarticulating it out. But that was, it was, it was the same ontological clash which I had with my archeological colleague and myself and thinking about how I was raised as an archeologist. But I wanted to have, for me that clash was a sign of we're going somewhere else, some third space outside of both of these disciplines. And therefore the rules we have used in both these disciplines, we have to set aside for a moment to participate in this project. Good question. I have something that jumps off of that. So part of the premise of business is taking things out of context. Yes. Okay. And then you call these groups that you create assemblages. Okay. Which of course there are other big low-end archeological terms. Where in fact they're not actually assemblages in the sense that none of these things were necessarily found together.  What, why, rather than giving someone something random that probably was, even if it was a false assemblage or a random one, why would you necessarily choose to put things by material rather than a different selection? Great question. And when we started doing this we weren't sure quite how we were gonna deal with this. We thought about keeping them within their closed context assemblages. In fact, when we sent them out we called them kits. Kit one to kit 85. But your point is taken. And I think that there came a point when we had to decide how are we gonna send things out? And if I went back and thought about this idea if we're gonna treat it as raw materials as in an artistic studio, before you do your articulation you juxtapositioning, well you squeeze your acrylic out of a tube. It's in your box of paint. So that's a material, it's a medium which shares some coherence. So I said, okay that's what we're gonna do. And we made the decision over a couple of days talking about it and saying, okay let's group them by raw materials and send them out. Cause that seems like if you went to an art store and said how do they sell things? Here's the balsa wood section. Here's the paint section. Here's the oil section. And I said, okay I'm gonna go with that. But I mean it could have gone other ways. Well it might be an argument for do or more mix medium type of thing. Some kits could not be. To be completely. Because the artists who normally want a single material would have to deal with the fact that in fact. Well to be honest with you, Ruth came and selected hers. I was gonna say. Annie came, you came and selected yours? So some people who are local, people who are local to the Bay Area came and selected. And they just, I just said go into the room and take what you want. And everything that the people who came was a mixture of different materials. But I didn't want that to happen. Actually I didn't want that to happen. Well it was a random selection too. So they chose and because of that it was chosen to de-perfect my self. And I wanted to force people, yeah. From what I know, several of the things I chose were shoots because as an archaeologist I'm never being allowed to actually do anything. It's a blind thing you gotta never supply. But I specifically didn't want that. I didn't want people to get a box of stuff which they could relate to. I wanted them to go in and blind. Thank you. Thank you. That makes me feel better. I'll say this is having the actualized repurposed things do political work, I guess. And as I watched the film clip of the calcined bone dancing and making these beautiful patterns respond, I mean that was an aesthetic experience. Not for me a political one. I mean, is it just your choice that it should do political work? I suppose the artist just wants it to do aesthetic work. Really important question. So we sent out 85 kits. There are 28 pieces in the show in Portugal. Some of those pieces have some clearly political edge where they speak to something. Many of them do not. And we had a great, we were discussing with the museum what information we wanna give to the spectator, the visitor. And some of the team wants it just to be titled or untitled, no other information, and people have to react to things from their own personal experiences. I'm very sympathetic to that perspective. Another part of the team, which I'm also sympathetic to, is to use QR codes, which people scan with their phones and they get either a text or a video or an acoustic thing, which fills in some of the background of what the maker, for example, Marco who did the vibrating bone thing, talks a lot about the role of the hum in our society and electronics and digital era and it's just a problem we need to, so that's his political show on it. Everyone sort of can work their stuff into something. The woman who wove the nails into tapestry, she writes in her text, two paragraphs, about her personal feeling rejected as an unattractive woman in Portugal and how making this beautiful piece of work with something which is seemed to be unattractive, arrested nail speaks to that. Now looking at that piece of work, I can never, I will always be an archeologist trained as one. I don't get that, but what's to say that you have to get something from the piece of art? I think everything has to speak to people in a different way. I think that's part of what I like about the art archeology, it gets away from saying result, interpretation, explanation, data point analysis. Oh, there's lots of interesting experimental archeology that goes on. I don't mean experimental archeology like making Flint. I mean, what do I mean? I mean archeologists doing weird stuff, yes. But yeah, that's a really, it's a hard one. And some, we got back 48 works, 50 works, and we had to make a set of decisions about what do we include in the show or not. And one of the criteria that we used was, is there some political, social issue which in some way it engages? And the pipe fruit one I showed you first off, the artist said, no, we just, we wanted to make this, it looks cool. I'm like, absolutely, that looks really cool. But it doesn't really fit into, if you want to be really strict about it. Exactly, exactly, exactly. Yeah, so these are the huge issues we've been wrestling with. Meg. We're already involved as a foundation and what do we think we've got things in context? We decide what context is. We're creating. We decide what objects to take out of the ground and what to leave. And I think in my excavations in Romania, I gave up on interpreting that site and wrote that book with the holes in it because I said, I'm fooling, I am, this is a bit of a scam to tell people that I know what happened. I mean, I can make a story which has scientific facts that support it, but that's my, I use trowels and I use shovels and I use micromerphology. Why? So looking at this in a bigger picture, that it really is, I mean, certainly that's what's happened with art as a concept in anthropology. Is that, for example, in my own work with so-called catalytic art or the Catholic, and whereas we call what Native Americans did rock art or pedagogic, I don't know why in one thing, part of the catalytic, I mean, we've already created value judgments right there. When the building first opened, I do believe there was a little museum up on the top floors and there was a, I think the last basis, porcelain in very blue shape, pipe to blue shape, all of the blue shape was a small exhibit and I wondered if it was still there. I don't know and what I've, I have not engaged with the trans Bay people. I want to get Portugal done. I'm a little concerned for some of the issues which were raised by some people here. I want to like to get Portugal done and into the galleries there before someone says, well, what are you doing with this? You can't take these materials out of the country, you can't do this. So I'm very aware of the sensitivity, but I'm also trying to avoid a project being stopped. But the plan is to go back to the Trans Bay Transit Center and to have another exhibition with this material and others. And I've, everyone I've spoken to is very excited about that, especially because this is not only archeology, but it's something else and it people are, whether they hate it or they love it, people react to this. And I think sort of I was excited by doing that. Yeah. Well, I'm there. I mean, the Trans Bay Transit Center did excavate a native burial. Yes. How we're making value difference and then there's a whole set of ethical principles. Yeah. And you're right. So through all the leather shoes, we had a lot of leather, a lot of organics. I mean, people who got part of their kit, they're like, whoa, yay. And then Colleen Morgan with putting the shoe on I don't know if it's her child or someone else. Well, I have no expectation of that's really, I don't know why that's very powerful to me, but it says something about these objects which were deemed to be unimportant and discardable for our reasons of historical valuation are actually full of energy and value. How do we release that? Probably not in the traditional way of doing archeology. And that's what I'm trying. That's what this is about. Yes, sure. Downsizing. I've been going through downsizing for the last year and there's some other people in this room today so I'll mention that because it's exactly what you go through. You cannot say everything and you have different reasons in the clash that has to be done. And in the, there's an article coming out next year in a book about the slide dissolving project where I talk a lot about archives and as an anthropologist called Liam Buckley wrote a very important article about the National Photographic Archives in the Gambia where he was doing his PhD research and how they were all decaying. Ants and Mildew. And the whole article argues about maybe we need to value decay in a way in which we haven't. And he talks about local people where he was living. The man died and the widow burned all his things. Didn't want to give them to the museum. Didn't want to retain them. And her way of dealing with loss and life was to release them and to value that moment of release and destruction as something positive. It is part of the cycle. Completely. And we're sort of, we're fooling with life when we're preserving stuff which should decay. Sorry. We do all these burnt houses in the Neolithic. It all comes back to Ruth always. Yes. Sorry. Yes. I've been staying back a long time ago on people. These were not our envelopes. We go down to the store and buy lots of envelopes. These were made from advertisements maybe out of magazines or newspapers. And we carefully fold it up. And then some of the names on these envelopes were like notable. You know, they were creeping with the media. Famous life analogists that had collected in the Philippines and had sent in their collections. All the symbols that's gone into the trash. They are not valued at all. It was just all about the life ends.  So it just, you know, something about what you're talking about. Well, the issue of discard is a huge anthropological debate. Go back to Danny Miller's work.  We had been sent to recycling center. The Goodwill deemed them not to be good enough to put in their shop. So they're put in big bales and they're shipped to Africa where people wear these shirts. And there's this weird valuation which we don't often question. And I think that's an interesting way of thinking about this. We have all kinds of strange reasons to value what we should preserve or keep. And then there were disarticially dots here. Right. Triggers here. So all these parts and they could take whatever they wanted and then repashion them to an art piece. And our pieces were very political and like DNA spiral, you know, that I think of as done pieces or flowers made out of done pieces. And all these ideas are floating in my mind from your shop. Excellent. Yeah. Yay. Which may be a good way to wrap up unless there are other questions. Oh, okay. Well, thank you very much. Thank you. Thank you.


Hello, everyone. So, in this video, we are going to see methods in servlet using two methods do get and do post. Okay, I'm Professor Dattadri Ghandmal from Valchand Institute of Technology, Sulapur. So, let us begin with this video. What students will be able to understand? Students will be able to differentiate between do get and do post method. We will see to it what is do get and do post. And students will be able to write a program demonstrating the difference between do get and do post. Okay, let us quickly begin with the actual working of this program, how we differentiate do get and do post. We'll come down to eclipse. We have already seen this program in the previous video, where response dot set content type text HTML and print writer response dot get writer, right, and get parameter n where n is that is the data passed from HTML page. This is the n. So, this n will come here and we are going to display welcome name. Okay, let us try to run this program. Okay, it will execute. And in here, whatever name I'll write, I'll write Ankit. So, it will say welcome Ankit. So, this is how the data is passing from HTML page to your servlet page. Okay, so here welcome Ankit is coming. Okay, what if I change some something in HTML? I'll add some more values. I'll take this line. Okay, I'll also ask user to enter password. Enter your name, enter your enter password. Let's enter password. Okay, and here I'll take name equal to P. Okay, so password and the type I'll make it password. Since it's a password type, I'll make it password. Okay, and we'll come down to demo servlet. Here get parameter is welcome name. Okay, we'll keep it all the things same. Let us see what will happen. First of all, stop the Tomcat and come down to your program and run it once again. Okay, now there are two sections. This is Ankit and password I'll write something. So, which is not visible because I made the type as password. When I log in it will go to welcome Ankit. Now what I want is I want I'll change something here. I'll give login authority only to the valid user. I will check whether it is a valid user or not. So here we will write some if else kind of thing. Okay, now here, if he's a valid user then only I'll allow him otherwise I'll say oh you're not a valid user. Okay, let's have something like if if name dot equals we have an equals method. Okay, if name dot equals Ankit will also similarly we will take password. Okay, so here I'll write string pass equal to request.get parameter there we have written P. So I'll take your P and pass dot equals let's say I'll make it admin 123. So password is admin 123. If this is there, then I say welcome. Otherwise else I'll say PW dot print line invalid user. Are you getting so if he is a valid user then only I will give him access otherwise I will not give him access. Okay, so name equal to Ankit and pass dot admin 123. Okay, let us see to it. Okay, now come down to run it once again restart the server. If I write name equal to Ankit and password equal to admin 123 log in. So welcome. Ankit is saying what if I put a wrong password I'll put something else. Okay, invalid user it is saying are you getting so this is how I can restrict access to a particular page in servlet. Okay, now what if I change this is with a get method. Now let us try to understand the difference between get method and post method. Whatever we have done till now we have done it in get method. Okay, the drawback with get method is that if you observe closely here in the URL n equal to Ankit and p equal to some password is visible. So when a user puts a username and password someone can hack your credentials from this URL. So you are passing your actual credentials even if I have put let's say I have put admin one admin 123. If I log in here I can see admin 123. This is the biggest drawback of get method. Okay, to overcome this what we will do we will make this a post method. If I make this post method here this code now should come in post method. Okay, now let us see I'll stop this. Okay, we'll run it once again. Same code we are doing right. So here I'll put now Ankit and password equal to admin 123 admin 123. Okay. Now here welcome Ankit here in URL you can see there is nothing passed that is the biggest advantage of using post method. So when you should use post method when you don't want your credentials to be passed as an URL in get method the credentials are passed as an URL. Whereas in post method the credentials are not passed. Is that clear makes sense. So because what we have done in index.html make this method as post instead of get method. So whenever you want the data to go through URL make it get and whenever you want your data to go not to go from URL then make it simple. Okay. I hope it makes sense. So here in I'll repeat once again in demo servlet that particular code will reside inside do post. Earlier it was in do get. Now I've put my code inside do post. So if you just put your code inside do post it will make the job. That is the difference between. Okay. We'll come back to our PPD presentation. So now let us take a pause and try to answer this question which method passes data through URL. There is one more which method does not pass data through the URL. Just now we have seen it. Just try to recall pause and answer this. Okay. The answer for this is the data which passes through URL is do get and data which does not pass through URL is do post. Okay. Now let us try to understand the difference between do get and do post that is get method and post method. Get request sends the request parameter as a query string appended at the end of the request. So we have seen that it is passed as a URL. Post request send the request parameter is as part of HTTP request to body. That is the difference between get and post. Second difference is it will be displayed in the address bar of a browser. Whereas post method it does not display it in address bar. So here it will go as a URL. Here it will not go as a URL. Okay. Then on restrictions on form data that is ASCII characters are allowed whereas no restrictions on form data binary data is also allowed. So that is the difference between when to use get and when to use post based on the requirement we will prefer to use get method or to use post method in get method the maximum size limit is 2000 characters whereas in post method the maximum size is 8 MB. Okay. So in post you can send more data whereas in get method you can send only limited data. Here restrictions on form length. So URL length is restricted. No restrictions on the length because the data is not passed through URL. So there is no restrictions and remains in browser history and this thing doesn't remain in the browser. Since URL is not passed and data is not stored in the cookies. So you can mostly whenever you want to send credentials important credentials use post method. And whenever you don't want to send any important credentials used get method. Okay. So we have seen the demonstration. We have also seen the difference. I should use should be I think you should be able to do the code now. Okay. These are some of the references which I have used. These are some books some ebooks and e-resources you can go through it. They are good to go through. Okay. Thank you.


Hello everyone, I am Mrs. Sunita Dole. Topic covered here is follow set. In previous video, we consider how to compute first set for a given grammar to construct the passing table and now in this video we are going to consider how to compute follow set which is also used to construct the passing table. Learning outcome. At the end of the session, students will be able to compute the follow set for a given grammar. We know that the construction of the predictive passing table requires two functions first and the follow set. The set of tokens yielded by the follow function can also be used as a synchronizing tokens during panic mode error recovery. For non-terminal capital A, follow of capital A is to be the set of terminals small a that can appear immediately to the right of capital A in some sentential form. If capital A can be the rightmost symbol in some sentential form, then add dollar in follow of capital A. To compute the follow of capital A for all non-terminal capital A, apply following rule until nothing can be added to any follow set. Rule number one, place dollar in the follow of capital S where capital S is the start symbol and dollar is the input right end marker. Rule number two, if there is a production capital A derives alpha capital B beta, then everything in the first of beta except for the epsilon is placed in the follow of capital B. Rule number three, if there is a production capital A derives alpha capital B or production capital E derives alpha capital B beta where first of beta contains epsilon, then everything in the follow of capital E is in follow of capital B. Consider the first grammar with the production for arithmetic expression, capital E derives capital T E dash, capital E dash derives plus capital T E dash or epsilon, capital T derives capital F T dash, capital T dash derives star capital F T dash or epsilon and capital F derives in parenthesis capital E or I D. First set for this grammar is given on this PPD. We put dollar in the follow of capital E by rule one for the follow set. By rule two applied to the production capital F derives in parenthesis capital E, the right parenthesis is also in the follow of capital E. By rule three applied to the production capital E derives capital T E dash, dollar and the right parenthesis are in the follow of capital E dash. Hence the follow of capital E equals to follow of capital E dash equals to right parenthesis and dollar. Since in capital E derives capital T E dash, E dash derives epsilon hence by rule two everything other than epsilon in the first of capital E dash must be placed in the follow of capital T. Hence follow of capital T is plus right parenthesis and dollar. By rule three applied to production capital T derives capital F T dash plus right parenthesis and the dollar are in the follow of capital T dash. Hence the follow of capital T equals to follow of capital T dash equals to plus right parenthesis and the dollar. Since in capital T dash derives star capital F T dash, capital T dash derives epsilon hence by rule two everything other than epsilon in first of capital T dash must be placed in the follow of capital F. So by rule three applied to the production capital T dash derives star capital F T dash as the first of capital T dash derives epsilon, follow of capital T dash will be in the follow of capital F. Hence the follow of capital F equals to plus multiplication, right parenthesis and the dollar. Here the second grammar for dangling if with the production given on the slide. So the productions are capital S derives small i capital E small t capital S S dash or small a that is on the right side of the production small i means if capital E means expression small t means then and the capital S means statement while S dash means statement dash. So capital S derives if expression then statement as statement dash or small e capital S dash derives small e capital S or epsilon that is capital S dash derives a statement or epsilon and capital E derives small b. First set for this grammar is already computed in the previous video and is given on this slide. We put dollar in the follow of capital S by rule one for follow set. Since in capital S derives small i capital E small t capital S S dash capital S dash derives epsilon hence by rule two everything other than epsilon in the first of capital S dash must be placed in the follow of capital S. Hence the follow of capital S is small e comma dollar by rule three applied to the production capital S derives small i capital E small t capital S S dash small e and the dollar are also in the follow of capital S dash. Hence the follow of capital S is equal to follow of capital S dash is equal to small e comma dollar. To compute the follow of capital E consider the production capital S derives small i capital E small t capital S S dash. Now by applying the rule two first of small t will be in the follow of capital E. Hence the follow of capital E is equal to small t. Consider the third grammar with the production capital S derives capital A small a capital A small b or capital B small b capital B small a then capital E derives epsilon and capital B derives epsilon. First set for this grammar which is computed in the previous video is given on the slide. We put dollar in the follow of capital S by rule one for the follow set. Hence the follow of capital S is dollar. To compute follow of capital A consider the production capital S derives capital A small a capital A small b. By applying rule two first of small a and the first of small b will be in the follow of capital A. Hence the follow of capital A is equal to small a and the small b. Similarly follow of capital B is small a and small b. Till now we consider how to compute follow set for non-terminal. Now pause this video and reflect on this question for a minute or two minutes and write your response. Once you return the answer to this question then you can restart playing this video. The question is compute follow set for the following grammar capital S derives capital C C capital C derives small c capital C or small d. I hope all of you have completed this activity. So the question was compute follow set for the following grammar. First set for this grammar is given on the slide which is already computed in the previous video. So first of capital S equals to small c, small d and first of capital C is small c, small d. We put dollar in the follow of capital S by rule one for the follow set. Hence the follow of capital S is dollar. In production capital S derives capital C C. Follow of first capital C contains first of second capital C except epsilon by rule 2 where the first of second capital C is small c, small d. Hence the follow of first capital C equals to small c, small d. Also using rule 3 follow of capital S will be in the follow of second capital C as second capital C is the right most non-terminal on the right side of the production. Hence the follow of capital C equals to small c, small d, dollar. This is the reference used for preparing this presentation. Thank you.


Welcome folks, we are the Dow Industries finished down 35, Nasdaq up 206, S&Ps up 28, Gold contract up $7, trading at 19.23 an ounce, we had Silver up 62 cents, $23.68 an ounce, LightSweep crude, down 44 cents, $80.81 a barrel, notes and bonds, a 10-year note, down 18.6, trading $109.02, the 30-year off a full point plus 12 ticks at 117.27 and the 10-year right now folks hit a high far the year and close that, that high, 4.338, big number, and King Dollar. King Dollar, where are you hiding on me? Where are you? King Dollar down 48 ticks, 103.327 and I take folks, we get the bounces on and you know, and reason I'm saying that, we had a price projection on the way down, hit the price projection, it was an ABC structure down, you know, about a week and a half ago, we're taking the B point out, taking it out with volume, did all the above, bottom line, today you get a nice bounce, 63 million shares but that's a huge contraction of volume and I suspect what we're going to do here is that we're actually going to get up to the 4.46 area which would be a reason I use that, that's a high volume low, it's also the 50% retracement on the way up and that'll, you know, that'll just flip people right out, that's the bottom, that's also the bottom line. Now, if in fact this is going to set up a large ABC down, what we will see is as we go higher, this market will keep contracting and you know, we'll see how that shakes out. We're going to take a look at the gold market and the gold market, as I said, my take is that we're very close to this turn here. If you haven't test driven the gold report, now's the time to do it folks, go over to our website at TFNN, gold hit 1913 today, it was 1923, the divergence is that silver only went to its higher swing area and that rejected it and then today we came in with a sign of strength. So if you know anything about the gold or silver market folks, okay, the bottom line when this takes off it takes off like a rocket ship. So bottom line, check it out, go over to TFNN, test drive the gold report, get it 30 days, it's a money back guarantee for 30 days. Have a great night folks, have a safe night, come back and visit Tom in the morning, kicks us off 9am, great show. Real, go get them folks.


There is a dying man and he turns to his wife and he says honey You've been with me through all of my troubles through all of my bad times You've been there when I got fired from my job when I had my heart attack and when we lost our house You were right there by my side You know something I Think that you're bad luck before Alexandra Dodaria would start in a pandemic themed film I'm mad at the current pandemic the world is currently going through Before Alexandra Dodaria would release a thirst trap on her YouTube page to encourage people to vote. What's your favorite position? I mean on the ballot initiatives before Alexandra Dodaria would have over 510,000 subscribers on YouTube over 887,000 on Twitter and 18.2 million on Instagram at the time of this recording Alexandra Dodaria was born in New York City where she attended high school at an all-girl school before getting her first role to pad up her Resume in the popular soap opera all my children She starred in a whole slew of TV series and had a small roles in movies until she got her breakout role in the Percy Jackson movies And her role in HBO's true detective where she decided to bear it all what's going on guys It's her girl as the area heart here for you on before they were famous Documented the life of Alexandra Dodaria prior to fame. We have done videos on similar actors So make sure you check those out when you're finished watching this one in the meantime Let me know in the comments down below who you want to see a video on be sure to follow us on Instagram And before they're famous and feel free to follow me to at Azalea Zoe. Let's get into this story and I'll see you after the intro Be sure to subscribe and hit that bell Alexandra and Dodaria was born on March 16th 1986 in New York, New York both her parents working in law her mother Christina a lawyer and her father Richard a federal Prosecutor in New York City for 13 years before being named head of the NYC police department anti-terrorism Bureau She has Italian Irish Hungarian and Slovak ancestry She's the eldest of her parents three children, but she isn't the only one with some fame under her belt Her brother's actor Matthew did area who you may know from Shadowhunters and her sister's actor Catherine did area Oh most recently from Monstrous her grandfather was congressman Emilio did area of Connecticut as a child She thought of becoming a lawyer like her parents and her mother would tell her you can do anything you want Except to be a lawyer her mom used to model when she was younger before entering law school and both her parents saw that even though It was a rough ride acting ultimately made Alex the happiest pay up for each side Or is she could have started the real-life version of gossip girl because she was raised on Manhattan's Upper East side And wanted to be an actress for as long as she can remember when she was around 13 years old She auditioned for a got milk ad for chocolate milk The concept for the commercial would be her and a boy Which is already foreign to her because she went to an all-girls school And she had only kissed one boy at that point in her life I know you're wondering why I'm talking about her kissing boys Well the concept like I was saying was she would have chocolate syrup in her mouth And the boy would have milk in his mouth You see where I'm going with this well They would make out and then come up from their makeup dash with chocolate milk mustaches and then say the line Got milk or I guess got chocolate milk anyway She told interview magazine that it was nerve-wracking But also exciting to be able to make out with her boy because she only saw girls all the time at school She added in that she's absolutely positive that her parents had no idea that that's what the audition went into Although her family was if not rich very well off when she was 15 She worked in an ice cream shop before she got her go at acting another odd job of hers Model in a Barbie commercial that only aired in China if I could go back in time and tell my 16 year old self one piece of advice I would tell her to not be as afraid and You know be confident and believe in myself, and I think that that's something that sort of comes with age It's you know this waste of the young when Alexandra was 16 years old She got transferred from brewery all-girls schools the professional children's school in New York So she get better focus on her acting skills. She said she's always loved storytelling and it was always something She's genuinely wanted to do speaking on her privilege She said that she could have done anything because she said she had every opportunity on the planet at this time She landed her first gig and all my children She played Laurie Lewis a teen victimized in high school But doing her best to handle it even though she was young and inexperienced She brought a good charm to the role her first day was quite unique as being a day player She didn't get her own dressing room but ended up sharing the one left by Kelly rip up during this time There were major onset and behind-the-scenes conflicts for producers and writers and a decision was made to move the storyline away from the adults In the show and focus more on the teenage characters This ended up backfiring and the show's ratings plummeted in less than a year A new show runner was added and they let go of most of the teenage stars including Alexandra She was in 43 episodes It wasn't all bad news for this blue-eyed beauty though Because she said she played such a good girl in the show that it became boring for her But she was afraid to approach the writers and asked for her storyline to be shaken up a bit either way She was let go and free to pursue other opportunities. She went on to appear in law and order in 2004 2005 2006 and 2009 and then she had a short stint appearing in other TV series like it's always sunny in Philadelphia 2005 and white collar in 2009 She also attended Marymount Manhattan College before landing the role of Annabeth in the Percy Jackson movies In 2010 and reprising her role again in 2013. She dropped out to pursue acting full-time In between filming the Percy Jackson sequel She appeared in American Horror Story Hotel and started Hall Pass in 2011 She started the music video for Imagine Dragon song Radioactive in 2012 Which surpassed a billion views on YouTube and starred in Texas Chainsaw 3D in 2013 She also gained attention for her role in the first season of HBO's True Detective in 2014 Where she appeared in four episodes as Lisa Trinetti a court reporter having an extramarital affair with one of the main characters But it was her nude scenes that attracted most attention She then went on to film Santa Andreas alongside Dwayne the Rock Johnson in 2015 and of course Baywatch in 2017 Also a Dwayne Johnson the girls printing at work. Do you just look at my boobs? I was not my intention. I didn't Testing oh failed when it came to her new scenes in True Detective Alex said she knew the risk she was taken. She said I didn't expect it to take off the way that it took off I was actually kind of afraid of getting naked and what that would mean But I was willing to take that risk because of the people that I would have the opportunity to work with So no, I wasn't aware of what it was going to do for my career to the extent that it did or that it Was as unique as it was taking a quick look at her romantic life She's also dated a couple of her co-stars including Logan Lerman who played Percy Jackson I read that they were actually also engaged, but they broke up in 2015 She was also rumored to be in a relationship with Zach Efron when she starred alongside in Baywatch But neither of them confirmed this claim. They kind of both said that they're just really good friends I mean, I wouldn't be mad at that in her earlier year She dated Jason Fugues from 2006 2009 and was also in another rumored relationship with Trace songs Who she started alongside in Texas Chainsaw in 2011 as for what's next for Alexandra Derio? Well, I think we'll end this video right here after all this is before they were famous What did you think of Alex's story comment down below and let me know plus tell me who you'd like to see in the next video And I'll see you guys in the next one. Bye All right guys, I hope you enjoyed that video now we drop a new video each and every day So here's a recent drop that you might enjoy We handpicked that one for you because if you like this video, you'll probably like that We also got playlist like over here So click on that if you want to see a whole list of a bunch of videos We've dropped in the past and if you're new to the fame gang be sure to subscribe and turn on them post notifications And I'll see you guys in another video


Barges towed by tugs are a common sight on the waterways of the world, so much so they are often overlooked in the amount of damage that they can cause. An important thoroughfare across the Arkansas River would collapse from a bridge strike by two barges pushed by a tug. The disaster showed the responsibilities of such users of rivers and would result in the loss of 14 lives, 11 injured and a 580 foot section of bridge plunged into the river below. Imagine driving across a bridge only to have it collapse below you. Definitely the field of nightmares but likely something that you will never experience. However in the main morning in Webber Falls, Oklahoma, United States this very scenario would play out, putting a spotlight on the risks of waterway transport. Sadly the event would be due to an unknown health condition of the boat captain, but regardless of the cause it shows how vulnerable a bridge really can be. Scarily the collapse wasn't in the early part of the last century, but instead within living memory just over 18 years ago. Today I'm going to rate this disaster here 6 on the Patented Plain Difficult Disaster Scale. This is due to it being deadly but not having too much in regards to environmental implications or long-term health effects apart from the obvious mental trauma of the survivors of the disaster. Our story starts in 1967 with a newly constructed I-40 bridge spanning the Arkansas River near Webber Falls. The I-40 bridge is a twin girder continuous span bridge consisting of 13 concrete sections that were 7.5 inches thick, supported by steel girders and a steel superstructure that was in itself, supported by 12 reinforced concrete piers and two bridge abutments. During the construction design of the bridge considerations were not given for lateral loads caused by collisions and this was standard for the era. On the west piers 1 to 4 supported the bridge and to the east piers 5 to 12. Each pier consisted of three main sections with section 1 attached to the bridge footing with section 3 supporting the bridge span. Bridge strikes or illusions as they are known were obviously a known risk by the early 2000s. As such impact mitigation was provided in the form of reflectors and lights. These consisted of red lights and red reflectors affixed to the steel girders, marking the location of the main span piers for northern south shipping traffic. With green lights and green reflectors marking the center of the main span, the main span was between pier 4 and 5. A green boy was located 0.35 miles from the bridge marking the upbound left side of the channel. In case all that didn't help the bridge had pier protection sails on the northern approach for pier 4 and 5 only. Extra protection consisted of 10 inch by 18 inch by 89 feet long treated wood planks attached to the inside face of piers 4 and 5. These were installed in the 80s due to a number of unreported bridge strikes in the late 1970s resulting in superficial cracks in the concrete structures. The cracks were repaired with grout to prevent progression of the damage. The Robert Wylove was a diesel driven inland river tugboat operated by the river Magnolia Marine Transport Company. The vessel was built in 1955 and the twin screw tug was originally named Caroline under its first owner. She was sold in 1992 to MMT where she undertook upgrade works to her engines. Robert Wylove was 104 feet long with a width of 30 feet. She had recently had her dry dock inspection in March 2002 and was given a clean bill of health with no issues with her control equipment. In May 2002 she was pushing two barges also owned by MMT named MM60 and MM62 both built in 1999. Both were identical in size at 297.5 feet long with a width of 54 feet. They displaced 402.6 and 427.4 long tons respectively. The section of the river that the I-40 spanned was controlled by locks as it was part of the McLennan Care Arkansas River navigation system which itself formed part of the United States inland waterway system. Due to this the river had little in the form of current meaning water traffic could make easier progress throughout the network. At 3.40 in the morning of the 19th of May 2002 the tow boat Robert Wylove departed en route to Katuna. She was pushing two empty barges and on the 23rd of May the vessel and her barges entered the M-Carn system. At 18.40 on the 25th of May the alternate captain was relieved by the regular captain and took over the watch being relieved himself by the pilot at 22.45. The regular captain was 60 years old and had been in charge of the Robert Wylove since February 2001. He had over 40 years of experience through his marine career. The pilot was then relieved by the captain at 5.30 a.m. on 26th. You see the shifts on board most vessels like this are six hours long meaning six on six off. In the interest of good journalism I tried out this type of shift pattern for one of my days off and it's pretty brutal but maybe you just get used to it. At around 7 a.m. one of the crew members went to the wheel house to clean up. After completing his duties he chatted to the captain for around half an hour. The usual approach to the I-40 bridge was along the center of the river guarded by boys. GPS data collected post-event showed that the vessel followed the usual path until around here where she went off course. Would the vessel traveling at 6.7 miles per hour? The captain later told investigators that he remembered passing the boy to port and using a few degrees of left rudder to align his tow through the navigation span of the bridge. At this point he blacked out and the Robert Wylove was just four minutes away from impact. At around 7.45 a.m. the tow struck pier three about 201 feet west of the navigational channel at around a 56 degree angle. Pier three was not designed to be crash resistant. This was due to the main navigation route being between four and five. And because of this it collapsed taking the bridge span with it. The collapse damaged pier two in total over 500 feet of roadway disappeared into the river below. Some of the debris landed on the barges with the crew on board witnessing several vehicles drive off into the void. Nearby participants of a fishing tournament witnessed a mayhem and phone 911 with one of the party firing a warning flare into the sky. By now the captain have regained consciousness witnessing the incident in front of him. He sounded warning blasts on the boat whistle. In total eight passenger vehicles and three tractor semi-trailer trucks had fallen into the river or onto the collapsed portions of the bridge span. Three people who had escaped their vehicles after falling into the river had managed to get to shore with the help of the recreational boats in the area. At 7.48 a.m. the first of the emergency responders members of the local police arrived on the scene. Six ambulance responded with the first arriving at 7.56. 11 local fire departments, 10 EMS departments, eight emergency management agencies, seven state agencies and seven federal agencies would all assist. A total 58 local state and federal agencies responded to the accident. The Robert Wylove did not sustain any damage due to it being at the back of the tow. However both barges were severely damaged costing over $275,000 to repair but obviously that would be the smaller amount in terms of damage cost. The I-40 bridge damage and associated costs came to just over $30 million. The I-40 was closed for 65 days whilst repairs and reconstruction work was undertaken. The bridge was struck in an area not reinforced due to the intended traffic flow being between the fourth and fifth piers which was the structural failure point of the collapse. But what was the actual cause? The person in control of the tug had navigated the waters many times over their career and was familiar with the area. He obviously was experienced with the amount of years working in that industry which leads on to the question how did the towmate contact with the bridge? The captain of the tug reported that he'd experienced a blackout on approach to the bridge. After drug and alcohol tests showed up negative results investigators looked for any possible medical explanation. Medical experts suspected a condition called syncope which can cause a lack of blood flow to the brain. Usually in an incident like this the person would fall to the ground which would then allow blood to flow back to the brain allowing consciousness to recover quickly. In the case of the captain and the wheel house's limited space he didn't fully reach the floor instead he was supported in a crouching position leading to an extended period of unconsciousness. In a week leading up to disaster he had felt a number of periods of dizziness but had attributed it to fatigue. It was found that in the 72 hours leading up to the event the captain had a sleep debt of around 12 hours. Post accident the captain was subjected to several tests to investigate this theory with abnormal heart rhythm and clogged arteries discovered. Both can be causes of syncope. Traffic resumed on the 29th July 2002 in a record turnaround time. The NTSB recommended a bridge warning system for road users and a wheelhouse alert system for marine vehicles. Thanks for watching I hope you enjoyed the video. Would you like me to cover more bridge disasters like this? Let me know in the comments. This is a plainly difficult production. All videos on the channel are Creative Commons attribution share alike licensed. Plain difficult videos are produced by me John in a sunny south-eastern corner of London UK. Help the channel grow by liking, commenting and subscribing and check out my Twitter for all sorts of photos and odds and sods as well as hints on future videos. I've got Patreon and YouTube membership as well so if you want to support the channel financially you can do through there. And all that's left to say is thank you for watching.


Welcome back to our lecture series math 1060 trigonometry for students at Southern Utah University. As usual, I'll be your professor today, Dr. Andrew Missildine. In our previous video, we learned about one-to-one functions, invertible functions, that is the inverse of a function. So that, you know, if you have a function like y equals x plus three, then it has an inverse function y equals x minus three, so that when you compose these things together, let's call this one f of x, and then this would be f inverse of x.  When you do the two things together, it's as if nothing happened at all, they cancel each other out. So inverse functions are very important because they help us undo mathematical functions. But this is only possible when you have a one-to-one function. The idea is when you reflect it across the diagonal, you get a function which is also one-to-one. And you get issues like with a parabola, right? If you take y equals x squared, this function's not a one-to-one function because it fails this vertical line test. And so there's not a proper inverse function to the square root, but there is something that kind of acts like it, like sort of like a pseudo inverse. That is if we basically just erase the left-hand side of the graph, that is we limit the domain just to be when x is greater than or equal to zero, then when we reflect this graph, we end up with the square root graph, y equals square root of x. And so in this situation, the functions or inverses of each other, x squared is an inverse to the square root of x. But there's a caveat. Because the original parabola was not one-to-one, it was actually two-to-one, whenever you solve an equation using the square root, turns out there actually could be multiple answers. Like when you look at something like x squared equals four, we know, okay, to solve for x, I'm gonna take the square root of both sides, but this is the caveat here. We don't take the square root of both sides per se. We have to take the plus or minus square root. So there's two solutions, plus or minus two, which oftentimes we remember this positive square root of four is two, no problem. But we often forget the negative. And that's because we're only working with the right side of the parabola. The reason I bring this up is because when it comes to trigonometric functions, the same problem is present. Coming up with an inverse function for trigonometric functions is not as easy as maybe a one-to-one function because not a single trigonometric function is one-to-one. You can see on the screen right now a typical sine wave. So you see it right here, the sine functions as they're periodic, they go up and down, up and down, up and down forever and ever and ever, right? And so if you analyze any section of this graph, it's not gonna pass the horizontal line test, it's not a one-to-one function. But kind of like the square root versus the parabola, if we were to restrict the domain to some one-to-one region, then we could find an inverse for that section of the graph. Like what if we just take this right here, which this is often referred to as the principal region of y equals sine of x? The reason we call it that is if you look at this, if you look at just this sector right here, that are colored in green, yeah, I've restricted the domain, I've restricted my attention just to be negative pi halves to pi halves or negative 90 degrees to 90 degrees if you prefer the degree measurement there. And why did I do that? Well, there's really two reasons why we were gonna restrict the domain to be this sector right here. So the first part is that this is connected, right? This is one continuous strip. There's no discontinuities, no breaks, no holes, no gaps in the graph whatsoever. We could have tried to do something like, I'm gonna take this piece over here and this piece over here, that would create a one-to-one function, but it wouldn't be connected. We want it to be continuous, that's the first goal. And so kind of, and also central to the origin, and it does include zero, that's kind of a nice goal. But the other part is if you notice this piece of the graph contains all of the y-coordinates, this point over here when x equals pi halves is y equals one. This point over here when x equals negative pi halves, that's y equals negative one. And we get every point on the y-axis between one and negative one. So we've restricted the domain, but we've retained the entire range. So only the domain got smaller, the domain got restricted to negative pi halves to pi halves but the range stayed the same. And so on this function right here, this principal branch of y equals sine x, we then construct the inverse function for that, for which if we were to reflect this across the diagonal, the diagonal y equals x right here, so you reflect it to the side, you're gonna get something that looks like this. And this function we refer to as y equals arc sine of x, or sometimes it's denoted sine inverse of x. You put this negative one superscript next to the sine. Now you have to be cautious here, because when you see something like x to negative one, you might be tempted to think this is a reciprocal because hey, negative exponents could mean that. This is in mathematics, well, not just in mathematics, but in languages as well we refer to as a homograph. That is we're using the exact same notation to write two different meanings. Like if I write the English word, W-I-N-D here on the screen, what is the word here? Well, I promise you whatever the word you said out loud right now, I would have picked the other one. Is it wind, is it wind?  But the mathematics has these same linguistic limitations. In this context, when we write sine to the negative one, we never mean reciprocals, no, no, no, no. We're never gonna mean this in trigonometry, although we mean that in algebra all the time. When you write a sine to the negative one, we're talking about like inverse functions, F to the negative one, doesn't mean the reciprocal of F, that means the inverse of F. And so sine inverse, sine to the negative one will always mean arc sine, the sine inverse function. If ever I wanna take the reciprocal of sine, if I wanna take one over sine, there's already a name for this in trigonometry, it's called cosecant. If I ever wanna talk about the reciprocal of sine, I'll say cosecant. If I wanna talk of the inverse of sine, I'll use sine inverse like you see right here. So sine inverse is a function, oh, I can leave that on the screen, sine inverse is a function whose domain is gonna be negative one to one and its range is going to be negative pi halves to pi halves. And this is the switching things around, right? The domain of sine becomes the range of sine inverse and the range of sine, which is gonna be negative one to one, this becomes the domain of the inverse function. Inverse functions flip these things around.  Or how I actually like to think of it is you like move the sine inverse to the side and you end up with X equals sine of Y. It's how you solve for inverse relationships like so. And so the important thing you wanna take away from this is that sine inverse is the inverse operation of sine, but we have to restrict the domain because sine is not normally a one-to-one function. If we restrict to the principal branch of negative pi halves to pi halves, so basically we're taking quadrant four and quadrant one, if you think of in terms of unit circles, that then becomes the range of sine inverse and we can only take in numbers negative one to one. So when you take something like sine inverse of X, you wanna think of this as the ratio, excuse me, you wanna think of X here as the ratio, that's what I meant to say. X is the ratio because after all sine of Y equals X and Y, Y here is the angle or more specifically sine inverse of X. This is always equal to an angle. So you can only accept ratios that go between negative one and one because if your ratio is too big or too small then that's not an acceptable sine ratio. Sine's always between negative one and one so sine inverse will only accept numbers between negative one and one and then it will output an angle in the first or fourth quadrant from negative pi halves to pi halves. We can play the same game for the other trigonometric functions. So take cosine for example, Y equals cosine, it's graph looks just like sine, actually it's just equal to a horizontal shift of the graph, it's also not one to one but let's grab the principal branch, that is we're looking for a piece of the graph that's connected continuous near the origin, near X equals zero and it takes all of the Y values in the range of cosine which cosine also will range from cosine of X, it'll range from one to negative one just like sine does. And so the principal branch we're gonna grab is gonna be this piece right here. We're gonna go from zero to pi that is we're gonna grab quadrant one and quadrant two when it comes to cosine. And so then when you invert this to reflect this across the diagonal line you get a picture that looks like this. This is what we mean by arc cosine or sometimes called cosine inverse for short. All right, the domain of arc cosine will just be like sine, it'll range from negative one to one. The range on the other hand is gonna equal zero to pi, those aren't the same regions. Sine inverse will always output something between the fourth and the fourth and first quadrant. Cosine inverse will always give you something the first and second quadrant. It has to do with the nature of the original graph. We could play a similar game for inverse tangent or sometimes called arc tangent. Now when it comes to arc tangent, arc tangent, the range is actually all real numbers. It goes from negative infinity to infinity because of these vertical asymptotes that are on the graph of tangent. We want a connected piece that grabs all of the points and we also want to be kind of near X equals zero. So the principal branch is actually gonna be this connected piece right here. It's gonna go from negative pi halves to pi halves. So just like sine, we're gonna end up with the fourth quadrant and the first quadrant, like so. But the domain is a little bit different. This is a typo there, whoopsie daisy. This should be less than, less than right there. That is to say when it comes to the domain of, when it comes to the range of tangent, excuse me, we're gonna restrict the domain of tangent here to be negative pi halves to pi halves. That is pi halves and negative pi halves are not included because tangent is not defined at those values. The range is gonna be all real numbers, negative infinity to infinity. Then when we flip this thing around to get the inverse function, we end up with tangent inverse or arc tangent as it's sometimes called, same thing here. It's domain is gonna be all real numbers because the range of tangent was all real numbers, but it's range, the range of arc tangent will be restricted to negative pi halves over pi halves here. That is arc tangent will have two horizontal asymptotes as x approaches infinity, positive infinity. We're gonna see that x, or excuse me, y approaches pi halves. And it does it from below, but we don't need to worry about that. It'll approach pi halves. And then as you look at the other horizontal asymptote, it has two horizontal asymptotes. As you approach negative infinity here, as x approaches negative infinity, we see y would approach negative pi halves from above precisely, but we don't need that level of precision in the situation. Now, unlike when we graph sine and cosine and tangent previously, we're not gonna worry about graph transformations for sine, arc sine, arc cosine, arc tangent. Although you could do those various things. It's important to have a basic idea of what these graphs look like, but we're not gonna put as much focus on the graphs of these things. Mostly just wanna understand that they're inverses of the trig functions we've began with. Perhaps the only exception of that, it's gonna be arc tangent. We won't be graphing arc tangent a lot, but this function that's always increasing with an upper bound and a lower bound have these two horizontal asymptotes. This is not a property you see a lot with like rational functions or polynomials, maybe in an algebra class. So for mathematical modeling purposes, arc tangent's a very nice function to play around with, but that's not something we're gonna really worry about at this venture. And I should mention that similar statements can be said for arc secant, arc cosecant, and arc tangent. Although we won't do all of the details of those things, by analog, we can mimic what we've done in this video and define precisely what one means by arc secant, arc cosecant, and arc cotangent. We'll stick mostly with arc sine, arc cosine, and arc tangent, mostly because amongst other reasons, we don't need all of the inverse functions we can get with the three we have. And also your calculator probably only comes equipped with arc sine, arc cosine, and arc tangent.