1 00:00:00,000 --> 00:00:03,402 >> [MUSIC PLAYING] 2 00:00:03,402 --> 00:00:10,710 3 00:00:10,710 --> 00:00:12,240 >> DAVID J. MALAN: This is CS50. 4 00:00:12,240 --> 00:00:15,250 This is the end of week nine, and we have so much fun stuff to do today. 5 00:00:15,250 --> 00:00:18,350 And in fact, not only are we going to demonstrate some three dimensional 6 00:00:18,350 --> 00:00:21,300 technology for you in virtual reality with a very special guest, 7 00:00:21,300 --> 00:00:24,880 we're also shooting today's lecture in virtual reality. 8 00:00:24,880 --> 00:00:28,170 In three dimensions with a camera here, with a set of cameras here. 9 00:00:28,170 --> 00:00:32,240 And so just so that we can approximate the experience of having one of you 10 00:00:32,240 --> 00:00:36,730 come up on stage, could one of you actually come up on stage? 11 00:00:36,730 --> 00:00:39,254 Standing in-- let's go right here. 12 00:00:39,254 --> 00:00:40,920 I think I saw your hand among the first. 13 00:00:40,920 --> 00:00:41,419 >> Come on up. 14 00:00:41,419 --> 00:00:42,880 What's your-- [AUDIO OUT]. 15 00:00:42,880 --> 00:00:43,380 Arianna. 16 00:00:43,380 --> 00:00:47,600 Come on up and-- [AUDIO OUT] What I'm going to do is you come on up 17 00:00:47,600 --> 00:00:54,060 is throw onto our screen over here-- what the headset 18 00:00:54,060 --> 00:00:55,590 that Colton has ready for you. 19 00:00:55,590 --> 00:00:56,977 Nice to see you. 20 00:00:56,977 --> 00:00:58,810 And if you want to go ahead and put this on. 21 00:00:58,810 --> 00:01:02,250 Colton, what do we have that Arianna is going to be putting before her eyes? 22 00:01:02,250 --> 00:01:04,140 >> COLTON: You're going to be watching a movie trailer. 23 00:01:04,140 --> 00:01:05,473 >> DAVID J. MALAN: A movie trailer. 24 00:01:05,473 --> 00:01:08,234 And as I recall, this is a fairly scary movie trailer. 25 00:01:08,234 --> 00:01:08,900 ARIANNA: Really? 26 00:01:08,900 --> 00:01:11,910 DAVID J. MALAN: For at least one of us in the room. 27 00:01:11,910 --> 00:01:13,640 No one saw that. 28 00:01:13,640 --> 00:01:15,090 All right. 29 00:01:15,090 --> 00:01:18,700 And in a moment it should be projecting onto Colton's laptop an 30 00:01:18,700 --> 00:01:21,190 in turn the screen here. 31 00:01:21,190 --> 00:01:26,740 Let me go over here to that input, and here's what Arianna seeing. 32 00:01:26,740 --> 00:01:31,000 So she sees it as one image, whereas we see it, of course, in two. 33 00:01:31,000 --> 00:01:32,350 Left eye and right eye. 34 00:01:32,350 --> 00:01:33,930 Let me go ahead and I'll toss it on the overhead too, 35 00:01:33,930 --> 00:01:35,304 even though it's a little bright. 36 00:01:35,304 --> 00:01:39,910 37 00:01:39,910 --> 00:01:43,682 >> In this virtual reality there's a big play button in the middle of the room. 38 00:01:43,682 --> 00:01:44,178 >> COLTON: Make sure it's highlighted. 39 00:01:44,178 --> 00:01:45,170 Hit the play button. 40 00:01:45,170 --> 00:01:46,379 >> DAVID J. MALAN: There you go. 41 00:01:46,379 --> 00:01:47,212 >> COLTON: [INAUDIBLE]. 42 00:01:47,212 --> 00:01:51,175 43 00:01:51,175 --> 00:01:52,800 DAVID J. MALAN: OK, we're hitting Play. 44 00:01:52,800 --> 00:01:54,380 It's very scary. 45 00:01:54,380 --> 00:01:56,200 Very scary movie. 46 00:01:56,200 --> 00:01:58,060 Here we go. 47 00:01:58,060 --> 00:01:58,580 All right. 48 00:01:58,580 --> 00:02:00,440 Loading. 49 00:02:00,440 --> 00:02:03,709 Loading the very scary room. 50 00:02:03,709 --> 00:02:05,750 COLTON: So now you should just be in a dark room. 51 00:02:05,750 --> 00:02:08,080 DAVID J. MALAN: Now she is in a black room, 52 00:02:08,080 --> 00:02:10,889 which is scary and very realistic. 53 00:02:10,889 --> 00:02:12,940 There we go. 54 00:02:12,940 --> 00:02:13,440 All right. 55 00:02:13,440 --> 00:02:14,481 Go ahead and look around. 56 00:02:14,481 --> 00:02:24,140 57 00:02:24,140 --> 00:02:26,295 The wi-fi's being a little slow for us here. 58 00:02:26,295 --> 00:02:29,012 59 00:02:29,012 --> 00:02:29,720 Oh, that's scary. 60 00:02:29,720 --> 00:02:30,240 Who's she? 61 00:02:30,240 --> 00:02:34,260 62 00:02:34,260 --> 00:02:36,278 Very scary menu keeps coming up too, 63 00:02:36,278 --> 00:02:39,554 >> [LAUGHTER] 64 00:02:39,554 --> 00:02:41,430 65 00:02:41,430 --> 00:02:43,904 >> Notice that it certainly figures out where she's going. 66 00:02:43,904 --> 00:02:44,570 Time is passing. 67 00:02:44,570 --> 00:02:48,590 68 00:02:48,590 --> 00:02:49,530 Something very creepy. 69 00:02:49,530 --> 00:02:52,130 Oh, my goodness. 70 00:02:52,130 --> 00:02:55,410 Oh, my goodness. 71 00:02:55,410 --> 00:02:59,580 Blood in the shape of the movie's logo. 72 00:02:59,580 --> 00:03:01,980 And I think if we wait long enough, Arianna, something 73 00:03:01,980 --> 00:03:03,710 will start crawling toward you. 74 00:03:03,710 --> 00:03:06,776 75 00:03:06,776 --> 00:03:08,275 You see it yet? 76 00:03:08,275 --> 00:03:08,858 ARIANNA: Yeah. 77 00:03:08,858 --> 00:03:12,477 78 00:03:12,477 --> 00:03:13,560 DAVID J. MALAN: All right. 79 00:03:13,560 --> 00:03:18,720 80 00:03:18,720 --> 00:03:19,320 There we go. 81 00:03:19,320 --> 00:03:21,750 That can't be good. 82 00:03:21,750 --> 00:03:22,380 OK, careful. 83 00:03:22,380 --> 00:03:24,410 Now you're going to-- [INAUDIBLE] a big round of applause. 84 00:03:24,410 --> 00:03:25,090 Sorry. 85 00:03:25,090 --> 00:03:26,820 >> [LAUGHTER] 86 00:03:26,820 --> 00:03:27,330 >> It's me. 87 00:03:27,330 --> 00:03:28,080 It's me. 88 00:03:28,080 --> 00:03:30,260 OK, thank you to Arianna for coming up. 89 00:03:30,260 --> 00:03:32,110 >> [APPLAUSE] 90 00:03:32,110 --> 00:03:33,310 >> We'll show you-- 91 00:03:33,310 --> 00:03:35,397 >> [APPLAUSE] 92 00:03:35,397 --> 00:03:37,730 We'll see if we can share some of that footage with you. 93 00:03:37,730 --> 00:03:41,734 So let's take a quick look at a couple of announcements, a couple of examples, 94 00:03:41,734 --> 00:03:44,900 and then we'll turn the stage over to our friend, Professor Peter Manuelian, 95 00:03:44,900 --> 00:03:47,380 who's going to talk to us today about the use of technology 96 00:03:47,380 --> 00:03:51,590 and the application of computer science to the world of archaeology 97 00:03:51,590 --> 00:03:52,770 in just a bit. 98 00:03:52,770 --> 00:03:55,740 So first, doughnuts are available today at 4:00 PM 99 00:03:55,740 --> 00:03:58,790 if you are hungry for that, and advice about concentrating in or doing 100 00:03:58,790 --> 00:04:00,270 a secondary in computer science. 101 00:04:00,270 --> 00:04:02,990 Maxwell Dworkin is just down the road at 33 Oxford Street. 102 00:04:02,990 --> 00:04:06,580 Do feel free to join a bunch of the staff and CS concentrators 103 00:04:06,580 --> 00:04:08,560 and faculty for some tips. 104 00:04:08,560 --> 00:04:12,450 >> So recall that last time we left off with a somewhat technical topics 105 00:04:12,450 --> 00:04:15,450 but that syntactically are pretty easily implemented. 106 00:04:15,450 --> 00:04:19,120 One was an anonymous function, and the name kind of says what it means. 107 00:04:19,120 --> 00:04:23,417 But just in relative layman's terms, what is an anonymous function? 108 00:04:23,417 --> 00:04:26,220 >> [LOUD NOISE] 109 00:04:26,220 --> 00:04:27,110 >> That was scary. 110 00:04:27,110 --> 00:04:27,660 Yes? 111 00:04:27,660 --> 00:04:28,635 >> AUDIENCE: [INAUDIBLE] 112 00:04:28,635 --> 00:04:29,510 DAVID J. MALAN: Yeah. 113 00:04:29,510 --> 00:04:30,384 It literally is that. 114 00:04:30,384 --> 00:04:32,610 It's a function to which you don't give a name. 115 00:04:32,610 --> 00:04:36,860 And that seems a little weird because if it has no name, how do you call it? 116 00:04:36,860 --> 00:04:40,960 How do you call a function that has no name? 117 00:04:40,960 --> 00:04:41,536 Yeah? 118 00:04:41,536 --> 00:04:42,870 >> AUDIENCE: [INAUDIBLE] 119 00:04:42,870 --> 00:04:44,370 DAVID J. MALAN: Bind it to an event. 120 00:04:44,370 --> 00:04:48,870 So this is a fancy way of saying you tell the [? web ?] browser in advance 121 00:04:48,870 --> 00:04:52,180 that when something interesting happens, call this function. 122 00:04:52,180 --> 00:04:55,730 And in fact, there's another buzz word for this, which is simply a callback. 123 00:04:55,730 --> 00:04:57,890 So indeed a callback function is a function 124 00:04:57,890 --> 00:05:02,510 that gets called when some data is ready or when some event has happened. 125 00:05:02,510 --> 00:05:04,710 And so in particular, when we did something 126 00:05:04,710 --> 00:05:07,890 like an [? oncommit ?] handler or an onclick handler, 127 00:05:07,890 --> 00:05:11,447 you might actually want some function to get called when that event happens. 128 00:05:11,447 --> 00:05:13,530 And it doesn't matter what its name so long as you 129 00:05:13,530 --> 00:05:16,700 told the browser in advance what function to call 130 00:05:16,700 --> 00:05:19,440 and how that code should look, which we'll see again in a moment. 131 00:05:19,440 --> 00:05:22,690 >> And we'll also now take a look at one other topic, Ajax, 132 00:05:22,690 --> 00:05:25,770 which once upon a time stood for Asynchronous JavaScript and XML 133 00:05:25,770 --> 00:05:29,720 but now it stands for really just a more general technology or technique whereby 134 00:05:29,720 --> 00:05:33,220 a browser, by way of JavaScript, can request more data from a server 135 00:05:33,220 --> 00:05:35,490 even after the web page has initially loaded. 136 00:05:35,490 --> 00:05:37,350 So you're not using Ajax in pset seven. 137 00:05:37,350 --> 00:05:40,220 Every time you click a button or hit Enter or fill out a form 138 00:05:40,220 --> 00:05:43,220 and then send it to the server, the whole page is refreshing, 139 00:05:43,220 --> 00:05:47,100 the URL is probably changing, and some dynamic output is happening. 140 00:05:47,100 --> 00:05:50,630 In problem set eight we'll use JavaScript and a bit of Ajax 141 00:05:50,630 --> 00:05:54,420 as well so that things happen much more seamlessly and a lot less deliberately 142 00:05:54,420 --> 00:05:56,220 step by step by step. 143 00:05:56,220 --> 00:05:58,530 >> But first, let's take a look at JavaScript 144 00:05:58,530 --> 00:06:00,031 by way of this super simple example. 145 00:06:00,031 --> 00:06:02,613 This is just a web page where I've got a big div in the middle 146 00:06:02,613 --> 00:06:04,330 of the page and really big text. 147 00:06:04,330 --> 00:06:09,190 And with what language did I probably make the text really big? 148 00:06:09,190 --> 00:06:10,830 HTML, but in CSS. 149 00:06:10,830 --> 00:06:13,610 CSS properties allow me to specify really big. 150 00:06:13,610 --> 00:06:16,170 I could specify colors or any number of other things. 151 00:06:16,170 --> 00:06:18,970 >> But back in the day-- actually, around the time I 152 00:06:18,970 --> 00:06:22,580 was making those terrific personal websites I showed you on Monday-- 153 00:06:22,580 --> 00:06:26,980 there was actually an HTML tag called the blink tag, whose purpose in life 154 00:06:26,980 --> 00:06:28,090 was to do exactly that. 155 00:06:28,090 --> 00:06:31,440 If you do open tag blink, some text, close tag blink, 156 00:06:31,440 --> 00:06:33,390 the text would just blink on the screen. 157 00:06:33,390 --> 00:06:35,661 So web pages in the '90s did a lot of this. 158 00:06:35,661 --> 00:06:36,160 Literally. 159 00:06:36,160 --> 00:06:40,210 >> Worse yet, there was a marquise tag whereby your text would just 160 00:06:40,210 --> 00:06:43,980 scroll across the screen As though that was a good idea as well. 161 00:06:43,980 --> 00:06:47,840 So amazingly, one of the few things that browser manufacturers like Microsoft 162 00:06:47,840 --> 00:06:50,130 and Mozilla and Google have actually agreed on 163 00:06:50,130 --> 00:06:52,320 is to kill off tags like that. 164 00:06:52,320 --> 00:06:56,630 So they don't then exist any longer, but if we're really insistent 165 00:06:56,630 --> 00:06:58,930 we could probably re-implement this. 166 00:06:58,930 --> 00:07:02,111 >> So let me show you the bottom of a file here called blink.html. 167 00:07:02,111 --> 00:07:05,110 And there's obviously some HTML here, and it's a pretty simple web page. 168 00:07:05,110 --> 00:07:06,710 Indeed, there's that div I mentioned. 169 00:07:06,710 --> 00:07:10,700 I've given it a unique identifier so that either in CSS or in JavaScript 170 00:07:10,700 --> 00:07:14,100 I can uniquely refer to it so that I'm not confusing it with any other divs 171 00:07:14,100 --> 00:07:15,660 if there were actually any. 172 00:07:15,660 --> 00:07:19,560 And now notice at the top I've got a style tag in the head of the page, 173 00:07:19,560 --> 00:07:23,540 though I could certainly factor that out and put it in a styles.css file 174 00:07:23,540 --> 00:07:25,590 as you have in pset seven. 175 00:07:25,590 --> 00:07:27,110 >> And this just why it's big. 176 00:07:27,110 --> 00:07:30,510 It's 96 point, it's got a big margin around it which pushes it down 177 00:07:30,510 --> 00:07:32,770 toward the middle, and it's aligned in the center. 178 00:07:32,770 --> 00:07:35,441 But now, I've also got a script tag up top. 179 00:07:35,441 --> 00:07:37,190 And even though some of the syntax is new, 180 00:07:37,190 --> 00:07:41,350 let's take a look at how we could re-implement this atrocity 181 00:07:41,350 --> 00:07:44,011 from years past known as the blink tag. 182 00:07:44,011 --> 00:07:45,760 So here's a function, and I have named it. 183 00:07:45,760 --> 00:07:47,450 So it's not an anonymous function in this case, 184 00:07:47,450 --> 00:07:48,699 but it does have a name blank. 185 00:07:48,699 --> 00:07:49,770 Takes no arguments. 186 00:07:49,770 --> 00:07:53,590 Now this first line here is the first interesting one. 187 00:07:53,590 --> 00:07:55,700 And what is this return to me? 188 00:07:55,700 --> 00:07:58,600 On the left hand side it gives me a variable called div, 189 00:07:58,600 --> 00:08:00,209 and what is that div ultimately? 190 00:08:00,209 --> 00:08:02,750 How would you describe this to a somewhat technical roommate? 191 00:08:02,750 --> 00:08:04,083 What is that line of code doing? 192 00:08:04,083 --> 00:08:07,140 193 00:08:07,140 --> 00:08:08,460 What's that line of code doing? 194 00:08:08,460 --> 00:08:10,829 195 00:08:10,829 --> 00:08:12,870 So it declares a variable on the left called div, 196 00:08:12,870 --> 00:08:15,871 and then what is the right hand side of the expression return? 197 00:08:15,871 --> 00:08:17,370 What's a good way to think about it? 198 00:08:17,370 --> 00:08:20,702 199 00:08:20,702 --> 00:08:21,660 >> AUDIENCE: [INAUDIBLE] 200 00:08:21,660 --> 00:08:22,095 >> DAVID J. MALAN: Say again? 201 00:08:22,095 --> 00:08:23,420 >> AUDIENCE: The value stored in greeting. 202 00:08:23,420 --> 00:08:25,295 >> DAVID J. MALAN: The value stored in greeting. 203 00:08:25,295 --> 00:08:26,060 Not quite. 204 00:08:26,060 --> 00:08:28,610 So if you think of the HTML page as a tree in memory, 205 00:08:28,610 --> 00:08:30,770 the so-called dom or document object model 206 00:08:30,770 --> 00:08:33,740 whereby you just have a whole bunch-- like a family tree draped down 207 00:08:33,740 --> 00:08:36,110 from some root node. 208 00:08:36,110 --> 00:08:41,360 The element that has an ID is literally referring to the HTML element 209 00:08:41,360 --> 00:08:44,210 down here that has an ID of greeting. 210 00:08:44,210 --> 00:08:48,520 So if you think of this div tag as being a node in a tree, what 211 00:08:48,520 --> 00:08:52,210 get element by ID is doing quite simply is returning to you, 212 00:08:52,210 --> 00:08:55,230 if we were using C, a pointer to that node in the tree. 213 00:08:55,230 --> 00:08:57,469 A pointer to that node in your data structure. 214 00:08:57,469 --> 00:08:58,760 We don't have pointers anymore. 215 00:08:58,760 --> 00:09:02,230 Now we just think of things more higher level, like variables, 216 00:09:02,230 --> 00:09:05,210 but stored in div right now with some kind of reference or pointer 217 00:09:05,210 --> 00:09:06,432 to that node in the tree. 218 00:09:06,432 --> 00:09:08,390 Now this is interesting because that's the node 219 00:09:08,390 --> 00:09:10,910 that we want to make blink on or off. 220 00:09:10,910 --> 00:09:12,030 On or off. 221 00:09:12,030 --> 00:09:14,670 And we have a technique for changing the style of a tag, 222 00:09:14,670 --> 00:09:16,380 of course, which is CSS. 223 00:09:16,380 --> 00:09:18,530 And what's nice today is that we see that there's 224 00:09:18,530 --> 00:09:21,100 this bridge between JavaScript and CSS whereby 225 00:09:21,100 --> 00:09:25,560 you can use JavaScript to change the CSS properties of existing elements. 226 00:09:25,560 --> 00:09:27,960 You don't have to hard code all of your CSS in advance. 227 00:09:27,960 --> 00:09:31,860 You can actually dynamically change the aesthetics of your page as follows. 228 00:09:31,860 --> 00:09:34,710 >> Notice here, and you might not have ever seen this property before, 229 00:09:34,710 --> 00:09:37,890 but it turns out in CSS there's a property called visibility. 230 00:09:37,890 --> 00:09:41,860 And for reasons that have never been clear to me, the opposite of hidden 231 00:09:41,860 --> 00:09:44,300 is visible and the opposite of visible is 232 00:09:44,300 --> 00:09:47,200 hidden, as opposed to it being invisible but so be it. 233 00:09:47,200 --> 00:09:49,270 But what I'm doing here is I'm checking. 234 00:09:49,270 --> 00:09:53,160 If div.style.visibility-- so we've seen this dot notation a lot, 235 00:09:53,160 --> 00:09:56,530 and it's common in JavaScript because objects like these nodes that we're 236 00:09:56,530 --> 00:09:58,350 talking about have properties. 237 00:09:58,350 --> 00:10:00,780 And those properties might have properties inside of them. 238 00:10:00,780 --> 00:10:02,200 So relate it to data. 239 00:10:02,200 --> 00:10:08,299 >> So if that div style has a visibility property that equals hidden, 240 00:10:08,299 --> 00:10:10,590 what do I want to do if I want to make this thing blink 241 00:10:10,590 --> 00:10:13,127 and that div is currently hidden? 242 00:10:13,127 --> 00:10:14,210 I want to make it visible. 243 00:10:14,210 --> 00:10:19,380 Else, if it's not hidden-- ergo it's visible-- I want to make it hidden. 244 00:10:19,380 --> 00:10:22,230 So these six or so lines of code here-- eight lines of code-- 245 00:10:22,230 --> 00:10:25,480 simply have the effect of making something hidden or visible. 246 00:10:25,480 --> 00:10:26,760 Hidden or visible. 247 00:10:26,760 --> 00:10:27,635 Hidden or visible. 248 00:10:27,635 --> 00:10:29,760 But just once because there's no kind of loop here, 249 00:10:29,760 --> 00:10:32,270 so it doesn't feel like it's blinking quite yet. 250 00:10:32,270 --> 00:10:35,850 >> But down here, notice I've got this line. 251 00:10:35,850 --> 00:10:39,810 It turns out that built into browsers, and JavaScript specifically, there 252 00:10:39,810 --> 00:10:41,375 is a global variable called window. 253 00:10:41,375 --> 00:10:43,250 And we've seen another global variable called 254 00:10:43,250 --> 00:10:44,791 document, which we used a moment ago. 255 00:10:44,791 --> 00:10:47,290 There's another one called window that generally refers not 256 00:10:47,290 --> 00:10:50,550 to the contents of the page but just the general idea of the whole browser 257 00:10:50,550 --> 00:10:51,220 window. 258 00:10:51,220 --> 00:10:54,700 And window.setInterval, you can kind of guess what this means. 259 00:10:54,700 --> 00:10:57,990 It's going to do something maybe cyclically every some number 260 00:10:57,990 --> 00:11:00,310 of milliseconds apparently, according to my comment? 261 00:11:00,310 --> 00:11:03,437 >> So in English I'm saying, blink every 500 milliseconds. 262 00:11:03,437 --> 00:11:06,270 But a little more technically, what is this highlighted line of code 263 00:11:06,270 --> 00:11:08,130 telling the browser to do? 264 00:11:08,130 --> 00:11:09,560 It's making it blink, but why? 265 00:11:09,560 --> 00:11:11,570 What's it doing technically? 266 00:11:11,570 --> 00:11:13,350 Yeah? 267 00:11:13,350 --> 00:11:14,222 No? 268 00:11:14,222 --> 00:11:15,430 [? Put that instead. ?] Yeah? 269 00:11:15,430 --> 00:11:17,241 >> AUDIENCE: [INAUDIBLE] 270 00:11:17,241 --> 00:11:18,240 DAVID J. MALAN: Exactly. 271 00:11:18,240 --> 00:11:21,695 It's calling a function every 500 milliseconds, or half a second, 272 00:11:21,695 --> 00:11:23,229 and that function is called blink. 273 00:11:23,229 --> 00:11:26,270 And so recall on Monday that we said that just like variables, functions, 274 00:11:26,270 --> 00:11:28,750 because they have names or symbols associated with them, 275 00:11:28,750 --> 00:11:32,420 you can pass those around just like their pieces of data as well. 276 00:11:32,420 --> 00:11:35,130 So here we're just saying, hey, browser window. 277 00:11:35,130 --> 00:11:36,320 Set the following interval. 278 00:11:36,320 --> 00:11:38,137 Every 500 milliseconds call that function. 279 00:11:38,137 --> 00:11:40,720 And the browser doesn't even have to care what the function is 280 00:11:40,720 --> 00:11:42,800 so long as it's defined somewhere. 281 00:11:42,800 --> 00:11:46,530 >> So the net effect, if I go ahead and save this and go back to this page 282 00:11:46,530 --> 00:11:49,450 and reload now that I've enabled that function, 283 00:11:49,450 --> 00:11:52,910 is that this is literally what a lot of websites looked like in the 1990s. 284 00:11:52,910 --> 00:11:53,640 You reach here. 285 00:11:53,640 --> 00:11:54,330 Hello. 286 00:11:54,330 --> 00:11:58,350 Welcome to my creepy web page, as I recall, it was on Monday. 287 00:11:58,350 --> 00:12:00,940 So the goal here is not to re-implement the blink tag 288 00:12:00,940 --> 00:12:04,690 but to show this convergence between JavaScript, a language, and CSS, 289 00:12:04,690 --> 00:12:05,922 this sort of stylization. 290 00:12:05,922 --> 00:12:08,130 But now let's do something a little more interesting. 291 00:12:08,130 --> 00:12:10,660 >> In problem set seven, you have already been 292 00:12:10,660 --> 00:12:15,340 or will soon be implementing a quote page, whereby you can type in a stock 293 00:12:15,340 --> 00:12:17,714 symbol, hit Submit, and then the page reloads 294 00:12:17,714 --> 00:12:20,630 and you see a share of Google costs such and such dollars or something 295 00:12:20,630 --> 00:12:21,330 like that. 296 00:12:21,330 --> 00:12:22,460 And that's not Ajax. 297 00:12:22,460 --> 00:12:23,210 That's just HTTP. 298 00:12:23,210 --> 00:12:27,210 A form submits from one page to another, and you get back a response. 299 00:12:27,210 --> 00:12:29,610 But what if I wanted a slightly more elegant approach? 300 00:12:29,610 --> 00:12:33,660 Let me go ahead and type in goog and click Get Quote. 301 00:12:33,660 --> 00:12:37,050 Now, this is not the prettiest user interface to be sure, 302 00:12:37,050 --> 00:12:39,890 but notice that just like on Monday, I got this pop up. 303 00:12:39,890 --> 00:12:43,200 But the contents of that pop up, though wordy, tell me 304 00:12:43,200 --> 00:12:48,010 that the price is apparently $731.37. 305 00:12:48,010 --> 00:12:50,650 Not all that elegant, but let's see a slightly better example. 306 00:12:50,650 --> 00:12:55,230 >> Let me now go to version one of this, if I may. 307 00:12:55,230 --> 00:12:57,810 Version one looks like this. 308 00:12:57,810 --> 00:12:59,180 Same very ugly form. 309 00:12:59,180 --> 00:13:02,650 But if I type in goog here-- so similarly, 310 00:13:02,650 --> 00:13:04,260 it's just giving me this prompt. 311 00:13:04,260 --> 00:13:05,879 But we can make it even prettier. 312 00:13:05,879 --> 00:13:07,420 So this is a little more interesting. 313 00:13:07,420 --> 00:13:10,490 I clearly didn't put all that much effort into the aesthetics, 314 00:13:10,490 --> 00:13:14,400 but this is much more akin now to what Gmail would do or Facebook would do. 315 00:13:14,400 --> 00:13:15,840 You don't get some stupid pop up. 316 00:13:15,840 --> 00:13:20,730 Instead, the contents of the existing page change like that. 317 00:13:20,730 --> 00:13:21,790 >> So what's going on? 318 00:13:21,790 --> 00:13:25,470 If I go ahead and reload this page, the contents go back to the default 319 00:13:25,470 --> 00:13:28,760 and I can do something like FB for Facebook, Get Quote, 320 00:13:28,760 --> 00:13:30,100 and it looks that up as well. 321 00:13:30,100 --> 00:13:31,240 So what's going on? 322 00:13:31,240 --> 00:13:36,640 Well, let me go into Ajax0.html and first look at the HTML part. 323 00:13:36,640 --> 00:13:40,099 So notice, like Monday, I'm using the on submit handler, or on submit 324 00:13:40,099 --> 00:13:42,390 event handler, but we've seen other ways of doing this. 325 00:13:42,390 --> 00:13:44,223 So we're just keeping things simple for now. 326 00:13:44,223 --> 00:13:47,490 And on submit is telling me, call the quote function then return false. 327 00:13:47,490 --> 00:13:48,490 And just a sanity check. 328 00:13:48,490 --> 00:13:49,330 Why return false? 329 00:13:49,330 --> 00:13:50,954 What does that prevent? 330 00:13:50,954 --> 00:13:51,454 Yeah? 331 00:13:51,454 --> 00:13:52,430 >> AUDIENCE: [INAUDIBLE] 332 00:13:52,430 --> 00:13:53,580 >> DAVID J. MALAN: The whole page from reloading, 333 00:13:53,580 --> 00:13:56,160 which would put us back into pset seven territory, which is not the goal. 334 00:13:56,160 --> 00:13:59,260 We're trying to make things a little better, a little more seamless 335 00:13:59,260 --> 00:13:59,990 for the user. 336 00:13:59,990 --> 00:14:02,190 So now I just have HTML, and it's kind of long. 337 00:14:02,190 --> 00:14:04,040 It wraps over the edge of the screen there, 338 00:14:04,040 --> 00:14:07,050 but I've got an input whose type, if I keep scrolling, is text. 339 00:14:07,050 --> 00:14:10,077 But what's important is that it has a unique ID of symbol, 340 00:14:10,077 --> 00:14:11,410 and then I have a Submit button. 341 00:14:11,410 --> 00:14:13,050 So this is the very first version. 342 00:14:13,050 --> 00:14:16,880 >> But if I now scroll up-- let's take a look at the quote function. 343 00:14:16,880 --> 00:14:20,480 It's kind of neat that now, if you understand or are reasonably 344 00:14:20,480 --> 00:14:24,250 comfortable with HTTP from pset six or prior, 345 00:14:24,250 --> 00:14:27,790 all that we need to do really intuitively 346 00:14:27,790 --> 00:14:33,550 is create a URL that contains the symbol we want to look up. 347 00:14:33,550 --> 00:14:35,260 >> So it turns out that I wrote in advance-- 348 00:14:35,260 --> 00:14:38,426 and we won't look at the code for this, but I wrote in advance a file called 349 00:14:38,426 --> 00:14:40,490 quote.php that works as follows. 350 00:14:40,490 --> 00:14:42,660 Let me go back into my file directory. 351 00:14:42,660 --> 00:14:46,800 It's not going to work if I just click on it, but if I go up to my URL here 352 00:14:46,800 --> 00:14:52,200 and go to quote.php and I do question mark symbol equals goog 353 00:14:52,200 --> 00:14:55,660 and then hit Enter, notice that I get just this back. 354 00:14:55,660 --> 00:14:57,110 It's not a web page. 355 00:14:57,110 --> 00:14:57,902 It's just text. 356 00:14:57,902 --> 00:15:00,110 But it's text that's formatted in an interesting way. 357 00:15:00,110 --> 00:15:03,650 What format is this text, if you recall? 358 00:15:03,650 --> 00:15:04,300 JSON. 359 00:15:04,300 --> 00:15:05,837 JavaScript Object Notation. 360 00:15:05,837 --> 00:15:07,670 And so it's just a bunch of key value pairs. 361 00:15:07,670 --> 00:15:09,711 It's a little hard to read when it's a long line, 362 00:15:09,711 --> 00:15:12,710 but I see a bunch of quotes and colons and curly braces, 363 00:15:12,710 --> 00:15:16,960 and that's just the general structure of associating one piece of data 364 00:15:16,960 --> 00:15:19,300 with one particular value. 365 00:15:19,300 --> 00:15:25,070 >> So if I now have a file called quote.php that clearly, much like pset six, 366 00:15:25,070 --> 00:15:29,370 supports very simple HTTP get requests, what if in JavaScript I 367 00:15:29,370 --> 00:15:32,110 use my budding skills with this new language, 368 00:15:32,110 --> 00:15:34,920 construct a URL that looks exactly like that, 369 00:15:34,920 --> 00:15:38,100 and behind the scenes send a request from my browser 370 00:15:38,100 --> 00:15:41,500 to the server to get that JSON data? 371 00:15:41,500 --> 00:15:43,370 And that's exactly what we do here. 372 00:15:43,370 --> 00:15:44,820 >> So here's my quote function. 373 00:15:44,820 --> 00:15:47,700 I'm declaring a variable called URL. 374 00:15:47,700 --> 00:15:49,770 On the right hand side I'm using single quotes, 375 00:15:49,770 --> 00:15:51,820 but you could use double quotes as well. 376 00:15:51,820 --> 00:15:55,420 Notice I'm doing quote, unquote-- that's no pun intended-- 377 00:15:55,420 --> 00:15:59,550 quote.php?symbol equals. 378 00:15:59,550 --> 00:16:02,092 And then, even if you're not quite familiar with this syntax, 379 00:16:02,092 --> 00:16:03,799 and indeed most of you wouldn't be-- this 380 00:16:03,799 --> 00:16:05,650 is using that special library called jQuery 381 00:16:05,650 --> 00:16:08,030 that you'll see more on in online resources, 382 00:16:08,030 --> 00:16:10,070 perhaps in the final project. 383 00:16:10,070 --> 00:16:14,190 What am I concatenating onto question mark symbol equals apparently? 384 00:16:14,190 --> 00:16:15,210 Just generally speaking. 385 00:16:15,210 --> 00:16:17,880 386 00:16:17,880 --> 00:16:18,770 >> AUDIENCE: The symbol. 387 00:16:18,770 --> 00:16:19,280 >> DAVID J. MALAN: Yeah, the symbol. 388 00:16:19,280 --> 00:16:21,300 Whatever the human typed into the form. 389 00:16:21,300 --> 00:16:25,600 That is apparently the code in JavaScript for going into my HTML page, 390 00:16:25,600 --> 00:16:30,130 finding whatever element, whatever tag, has a unique ID of symbol, 391 00:16:30,130 --> 00:16:32,910 and this hashtag in HTML just means the unique ID. 392 00:16:32,910 --> 00:16:36,370 So whatever element has a unique ID of symbol that means go get it. 393 00:16:36,370 --> 00:16:39,150 And .val is a jQuery function, it turns out, 394 00:16:39,150 --> 00:16:41,340 that just says give me the value of that field. 395 00:16:41,340 --> 00:16:44,210 >> And then finally, and the syntax is a little funky-- 396 00:16:44,210 --> 00:16:47,770 so it turns out that jQuery, this library to which I keep referring, 397 00:16:47,770 --> 00:16:50,550 literally has a special global variable called jQuery. 398 00:16:50,550 --> 00:16:53,580 But it turns out in JavaScript, somewhat confusingly, 399 00:16:53,580 --> 00:16:57,210 the dollar sign is not a special symbol, whereas in PHP it's a special symbol. 400 00:16:57,210 --> 00:16:59,960 If you have something with a dollar sign it means it's a variable. 401 00:16:59,960 --> 00:17:04,082 In JavaScript, a dollar sign is just like A, B, C, or Z. 402 00:17:04,082 --> 00:17:06,790 It's just a letter of the alphabet that you can use in variables. 403 00:17:06,790 --> 00:17:08,706 So the people who invented jQuery just thought 404 00:17:08,706 --> 00:17:12,650 it would be kind of cool to lay claim to a global variable called dollar sign, 405 00:17:12,650 --> 00:17:15,040 but it just is an alias for jQuery. 406 00:17:15,040 --> 00:17:20,050 >> So $.getJSON is calling a function that comes with this popular library, 407 00:17:20,050 --> 00:17:23,130 whose purpose in life is to go get JSON data, issue an HTTP request, 408 00:17:23,130 --> 00:17:24,460 and get back the response. 409 00:17:24,460 --> 00:17:27,910 The first argument is apparently the URL from which you want to get that data, 410 00:17:27,910 --> 00:17:32,870 and the second argument, just to tie things together, is apparently what? 411 00:17:32,870 --> 00:17:33,740 Generally speaking? 412 00:17:33,740 --> 00:17:36,420 413 00:17:36,420 --> 00:17:39,262 What kind of function is this, if you will? 414 00:17:39,262 --> 00:17:41,450 Yeah, an anonymous function because there's no name. 415 00:17:41,450 --> 00:17:47,130 And using another piece of jargon from today, it's also a call back. 416 00:17:47,130 --> 00:17:50,150 >> And the purpose here is that the web can be slow, 417 00:17:50,150 --> 00:17:53,120 and just because you ask JavaScript and the browser 418 00:17:53,120 --> 00:17:56,770 to go get you some data from a website via HTTP get, 419 00:17:56,770 --> 00:17:59,730 it could take half a second, it could take five seconds 420 00:17:59,730 --> 00:18:01,560 if your internet connection is really slow. 421 00:18:01,560 --> 00:18:03,710 And you don't want the whole web page to just hang 422 00:18:03,710 --> 00:18:05,890 and some stupid spinning beach ball to come up, 423 00:18:05,890 --> 00:18:08,710 blocking the user from doing absolutely everything else. 424 00:18:08,710 --> 00:18:12,200 >> And so the way JavaScript works is that it's generally asynchronous, 425 00:18:12,200 --> 00:18:14,890 whereby you can do multiple things at a time 426 00:18:14,890 --> 00:18:18,020 so long as you tell the browser, hey, browser, when 427 00:18:18,020 --> 00:18:20,070 you are done getting this JSON data. 428 00:18:20,070 --> 00:18:23,210 Even if it takes five seconds, call this function. 429 00:18:23,210 --> 00:18:24,410 Don't make the user wait. 430 00:18:24,410 --> 00:18:26,480 Don't hang the browser until this happens. 431 00:18:26,480 --> 00:18:29,490 Rather, call me back, almost like a phone call, 432 00:18:29,490 --> 00:18:31,909 when you're ready and have the data for me. 433 00:18:31,909 --> 00:18:33,200 Now what does that function do? 434 00:18:33,200 --> 00:18:34,450 It's super trivial. 435 00:18:34,450 --> 00:18:37,450 All it does is it displays the data that comes back, 436 00:18:37,450 --> 00:18:41,660 and specifically the price field inside of an alert. 437 00:18:41,660 --> 00:18:42,340 That's all. 438 00:18:42,340 --> 00:18:45,410 And so that's why, to be clear, when we go to this example, which 439 00:18:45,410 --> 00:18:52,950 was [? Ajax0 ?] and I typed in goog and hit Enter, I got this simple, simple 440 00:18:52,950 --> 00:18:53,672 little prompt. 441 00:18:53,672 --> 00:18:55,380 Now it turns out we can make this better. 442 00:18:55,380 --> 00:18:59,400 And our final example here changes the quote function as follows. 443 00:18:59,400 --> 00:19:02,990 It's almost identical, but this was that new and fancy version 444 00:19:02,990 --> 00:19:05,160 whereby I had a placeholder. 445 00:19:05,160 --> 00:19:06,450 This was version two. 446 00:19:06,450 --> 00:19:09,460 And instead of just printing some silly prompt like that, 447 00:19:09,460 --> 00:19:12,430 I instead changed my actual web page. 448 00:19:12,430 --> 00:19:15,179 And to be clear, let me go into Chrome's Inspector. 449 00:19:15,179 --> 00:19:16,595 Let me go down to the bottom here. 450 00:19:16,595 --> 00:19:20,210 And notice, if I zoom in on this bottom part, this is the HTML of the page 451 00:19:20,210 --> 00:19:21,020 currently. 452 00:19:21,020 --> 00:19:23,870 And notice that right now I've got a span, which is like a div 453 00:19:23,870 --> 00:19:25,850 but it's a thinner div, if you will. 454 00:19:25,850 --> 00:19:30,070 A span whose ID is priced that literally says, to be determined. 455 00:19:30,070 --> 00:19:33,390 >> If I go into this form, type FB, and click Get Quotes, 456 00:19:33,390 --> 00:19:35,290 watch the bottom of the page. 457 00:19:35,290 --> 00:19:37,081 The actual HTML of the page changes. 458 00:19:37,081 --> 00:19:40,080 So this is like when you get a Facebook message and it suddenly pops up, 459 00:19:40,080 --> 00:19:41,824 or a new Gmail row in your inbox. 460 00:19:41,824 --> 00:19:43,240 That's literally what's happening. 461 00:19:43,240 --> 00:19:46,100 Someone wrote JavaScript code at Facebook or Google 462 00:19:46,100 --> 00:19:48,460 that actually changes the web page that you have already 463 00:19:48,460 --> 00:19:50,740 downloaded to reflect that new content. 464 00:19:50,740 --> 00:19:54,320 >> And if you really want to be fancy and understand this, noticed what happened. 465 00:19:54,320 --> 00:19:56,660 Let me reload again and clear all of this. 466 00:19:56,660 --> 00:19:58,900 And now notice I'm on Chrome's Network tab. 467 00:19:58,900 --> 00:20:04,380 If I do FB here and click Get Quote, notice just ala pset six, 468 00:20:04,380 --> 00:20:09,400 you can see the HTTP request, and you can see that my browser requested 469 00:20:09,400 --> 00:20:12,860 quote.php?symbol equals something. 470 00:20:12,860 --> 00:20:16,300 And then if I scroll down here, if you really want to geek out, 471 00:20:16,300 --> 00:20:21,657 you can see all of the HTTP headers that my server, Cloud 9, has returned to me. 472 00:20:21,657 --> 00:20:24,240 It's more headers than you guys were spitting out for pset six 473 00:20:24,240 --> 00:20:27,520 because we kept it simple, but in there is a whole bunch of information, 474 00:20:27,520 --> 00:20:29,790 among which is that 200 OK message. 475 00:20:29,790 --> 00:20:31,580 And below that's going to be the JSON. 476 00:20:31,580 --> 00:20:37,470 And so all we needed to do to make this happen is tweak my quote function ever 477 00:20:37,470 --> 00:20:38,450 so slightly. 478 00:20:38,450 --> 00:20:42,470 >> Instead of calling the pretty lame alert function, I simply do this. 479 00:20:42,470 --> 00:20:45,777 Which admittedly, syntactically it looks frightening at first glance 480 00:20:45,777 --> 00:20:47,610 because there's so much new syntax going on. 481 00:20:47,610 --> 00:20:48,943 But the ideas are pretty simple. 482 00:20:48,943 --> 00:20:52,900 This means, hey, browser, go call the special jQuery function 483 00:20:52,900 --> 00:20:57,880 that returns to me a pointer to or a reference to the node in my tree 484 00:20:57,880 --> 00:20:59,390 whose unique identifier is price. 485 00:20:59,390 --> 00:21:00,660 That's that placeholder. 486 00:21:00,660 --> 00:21:04,430 Then it turns out that jQuery comes with a special function called .html, 487 00:21:04,430 --> 00:21:07,860 whereby if you want to update the contents of a node in your tree, 488 00:21:07,860 --> 00:21:11,340 you literally just grab that node, you call the HTML function, 489 00:21:11,340 --> 00:21:13,430 and you hand it whatever you want. 490 00:21:13,430 --> 00:21:16,200 >> So if I wanted to be sort of silly here I 491 00:21:16,200 --> 00:21:23,140 could do something like ha ha, nothing here, save it, go back over here, 492 00:21:23,140 --> 00:21:27,340 and now if I click Get Quote up top left, you just get something-- whoops. 493 00:21:27,340 --> 00:21:29,980 If I reload the page and search for Facebook, 494 00:21:29,980 --> 00:21:32,200 you get something stupid like that. 495 00:21:32,200 --> 00:21:37,100 But I'm dynamically changing the content [INAUDIBLE]. 496 00:21:37,100 --> 00:21:38,396 Any questions? 497 00:21:38,396 --> 00:21:40,580 >> SPEAKER 1: Stop touching your mic. 498 00:21:40,580 --> 00:21:41,370 >> DAVID J. MALAN: The team is telling me to stop 499 00:21:41,370 --> 00:21:43,460 touching my mic which keeps falling out of my ear, 500 00:21:43,460 --> 00:21:45,630 so it's just as well that we're out of material here 501 00:21:45,630 --> 00:21:47,421 and we have time now for our special guest. 502 00:21:47,421 --> 00:21:47,990 Yes? 503 00:21:47,990 --> 00:21:51,371 >> AUDIENCE: If there's an opportunity to change the actual HTML of the page, 504 00:21:51,371 --> 00:21:53,200 does that make it vulnerable to an exploit? 505 00:21:53,200 --> 00:21:55,200 DAVID J. MALAN: If there's not-- say that again? 506 00:21:55,200 --> 00:21:58,566 AUDIENCE: Since there's an opportunity to change the actual HTML of the page, 507 00:21:58,566 --> 00:22:00,040 does it make it vulnerable to an exploit? 508 00:22:00,040 --> 00:22:00,570 >> DAVID J. MALAN: Oh, yes. 509 00:22:00,570 --> 00:22:02,778 So because you are able to change the HTML of a page, 510 00:22:02,778 --> 00:22:04,760 is it vulnerable potentially to an exploit? 511 00:22:04,760 --> 00:22:05,600 Potentially yes. 512 00:22:05,600 --> 00:22:09,240 If you're not sanitizing your inputs or [? scaping ?] them in the right way, 513 00:22:09,240 --> 00:22:13,250 absolutely could you end up triggering theft of cookies, which is actually 514 00:22:13,250 --> 00:22:15,500 a good segue to what we'll be talking about on Monday, 515 00:22:15,500 --> 00:22:16,730 which is security topics. 516 00:22:16,730 --> 00:22:19,313 And indeed, that's going to be one of the exploits we discuss. 517 00:22:19,313 --> 00:22:21,580 Tricking a browser into injecting something malicious 518 00:22:21,580 --> 00:22:23,120 into its source code. 519 00:22:23,120 --> 00:22:25,160 Any other questions? 520 00:22:25,160 --> 00:22:25,740 >> All right. 521 00:22:25,740 --> 00:22:26,970 Well, I'm so excited today. 522 00:22:26,970 --> 00:22:29,760 So I did my PhD in computer science, but about 523 00:22:29,760 --> 00:22:32,060 halfway through my degree in computer science 524 00:22:32,060 --> 00:22:34,350 my eye started wondering academically and so I 525 00:22:34,350 --> 00:22:38,850 started taking-- I think as an auditor or non-credit status-- anthropology 526 00:22:38,850 --> 00:22:39,400 1010. 527 00:22:39,400 --> 00:22:42,390 It was me the grad student and a whole bunch of freshman and sophomores here. 528 00:22:42,390 --> 00:22:44,350 But it was amazing class ever, and to this day 529 00:22:44,350 --> 00:22:47,830 I continue to subscribe to archaeology magazine, which comes once a month, 530 00:22:47,830 --> 00:22:50,935 and sort of introduces me to what's going on in the world of yesteryear. 531 00:22:50,935 --> 00:22:54,035 >> And we're so happy today to have our friend, Professor Peter Manuelian, 532 00:22:54,035 --> 00:22:57,160 to talk to us about the convergence of computer science and the application 533 00:22:57,160 --> 00:23:00,340 thereof to this amazing field of archaeology. 534 00:23:00,340 --> 00:23:02,078 Professor Manuelian. 535 00:23:02,078 --> 00:23:05,910 >> [APPLAUSE] 536 00:23:05,910 --> 00:23:07,772 >> PETER MANUELIAN: Thank you, sir. 537 00:23:07,772 --> 00:23:09,980 Great privilege to be on this stage with the maestro. 538 00:23:09,980 --> 00:23:11,979 Thanks so much for having me here today. 539 00:23:11,979 --> 00:23:15,020 I'm going to try to show a little bit of a real world application of some 540 00:23:15,020 --> 00:23:17,561 of the skills that you've already been amassing this semester 541 00:23:17,561 --> 00:23:20,470 and to try to get you excited about the human past as well. 542 00:23:20,470 --> 00:23:22,220 So we're going to go to my favorite place, 543 00:23:22,220 --> 00:23:25,580 outside of Harvard Square, of course, which is the Giza Pyramids, just 544 00:23:25,580 --> 00:23:27,050 west of modern Cairo. 545 00:23:27,050 --> 00:23:31,245 And if you're wondering what BCE stands for, it's before computer era. 546 00:23:31,245 --> 00:23:32,640 >> [LAUGHTER] 547 00:23:32,640 --> 00:23:36,900 >> So three pyramids built by three famous pharaohs of Egypt's Old Kingdom 548 00:23:36,900 --> 00:23:37,870 or fourth dynasty. 549 00:23:37,870 --> 00:23:39,480 Think about 2,500 or so. 550 00:23:39,480 --> 00:23:43,200 But what's all around them are hundreds and hundreds of tombs as well. 551 00:23:43,200 --> 00:23:46,000 So think of Giza as two amazing data sets. 552 00:23:46,000 --> 00:23:48,000 One data set is what's still there. 553 00:23:48,000 --> 00:23:50,260 These incredible tombs surrounding the pyramids that 554 00:23:50,260 --> 00:23:52,980 have these amazing decorations inside. 555 00:23:52,980 --> 00:23:55,430 There are statues, they are inscriptions-- frozen 556 00:23:55,430 --> 00:23:59,400 moments, if you will, of just about every aspect of life in ancient Egypt. 557 00:23:59,400 --> 00:24:01,170 So anything you want to study come here. 558 00:24:01,170 --> 00:24:03,630 It's not just a cemetery full of dead people. 559 00:24:03,630 --> 00:24:07,640 It's a document on how the Egyptians lived, and as well as how they died. 560 00:24:07,640 --> 00:24:09,600 So that's the data set out at the site. 561 00:24:09,600 --> 00:24:12,252 >> The other one, of course, is everything that came from Giza. 562 00:24:12,252 --> 00:24:14,210 Things you'll see in the Peabody Museum, things 563 00:24:14,210 --> 00:24:17,110 you'll see in the Museum of Fine Arts, and in museums and collections 564 00:24:17,110 --> 00:24:18,150 all over the world. 565 00:24:18,150 --> 00:24:21,140 It's mummies, it's statues, it's steely, it's jewelry, 566 00:24:21,140 --> 00:24:22,610 it's objects of daily life. 567 00:24:22,610 --> 00:24:24,850 All kinds of cool stuff. 568 00:24:24,850 --> 00:24:28,880 >> So what makes this place so special is that right here at Harvard University 569 00:24:28,880 --> 00:24:32,100 this is the major excavation that worked at the site of the Giza Pyramids. 570 00:24:32,100 --> 00:24:35,170 And this is the guy who did it, my predecessor George Reisner. 571 00:24:35,170 --> 00:24:37,770 1867 to 1942. 572 00:24:37,770 --> 00:24:40,320 Died at the pyramids in the middle of the Second World War. 573 00:24:40,320 --> 00:24:42,445 And if you're wondering where this photo was taken, 574 00:24:42,445 --> 00:24:46,370 this class photograph, at the end of class leave by that door, go out there, 575 00:24:46,370 --> 00:24:49,200 and yes, you'll see right outside this theater, 576 00:24:49,200 --> 00:24:54,030 right against the wall-- that's where class photos were taken in that day. 577 00:24:54,030 --> 00:24:57,310 >> So an amazing individual, one of the greatest archaeologists of his time, 578 00:24:57,310 --> 00:25:01,280 way ahead of his time in many ways, and this is what's called Harvard Camp. 579 00:25:01,280 --> 00:25:05,050 It was a collection of simple mud brick huts to the west of the pyramids. 580 00:25:05,050 --> 00:25:08,660 And in the courtyard at any particular day you would see amazing things, 581 00:25:08,660 --> 00:25:13,310 and people came to discuss with the master about all sorts of topics. 582 00:25:13,310 --> 00:25:15,120 Here are pieces of giant statues. 583 00:25:15,120 --> 00:25:17,350 You can see those in the Museum of Fine Arts today. 584 00:25:17,350 --> 00:25:19,602 And down below is our computer model of Harvard Camp. 585 00:25:19,602 --> 00:25:21,810 That's something you might want to get involved with. 586 00:25:21,810 --> 00:25:25,440 If you're searching for a final project, some kind of simulation or website 587 00:25:25,440 --> 00:25:28,890 introduction to Harvard Camp, the dig site. 588 00:25:28,890 --> 00:25:32,580 >> By the time George Reisner was done, the Harvard University Boston Museum 589 00:25:32,580 --> 00:25:36,000 of Fine Arts expedition worked at 23 different sites. 590 00:25:36,000 --> 00:25:37,810 All the ones that you see in red here. 591 00:25:37,810 --> 00:25:39,519 So 40 years, 23 sites. 592 00:25:39,519 --> 00:25:42,060 He only came back here to teach about three or four semesters 593 00:25:42,060 --> 00:25:45,460 over that whole time, so you know what he enjoyed doing the most. 594 00:25:45,460 --> 00:25:48,540 >> What happens with the massive archaeological backlog 595 00:25:48,540 --> 00:25:51,240 that a responsible expedition produces? 596 00:25:51,240 --> 00:25:55,280 So 45,000 glass plate dig photos, diaries, 597 00:25:55,280 --> 00:25:58,970 register books, maps, plans, small drawings, big drawings, 598 00:25:58,970 --> 00:26:03,120 thousands of pages of manuscripts-- some published books, some unpublished. 599 00:26:03,120 --> 00:26:03,780 All this stuff. 600 00:26:03,780 --> 00:26:06,910 And this is where the computer and the databases and the websites come in. 601 00:26:06,910 --> 00:26:08,550 How do you organize all of this? 602 00:26:08,550 --> 00:26:12,200 Try to get a travel grant to Boston and in a couple of days study this stuff. 603 00:26:12,200 --> 00:26:13,950 You will be overwhelmed. 604 00:26:13,950 --> 00:26:16,580 >> So this is a project that I started way back in 2000, 605 00:26:16,580 --> 00:26:19,220 and the team here at Harvard has been working on it ever 606 00:26:19,220 --> 00:26:20,890 since the last several years. 607 00:26:20,890 --> 00:26:23,940 First at the MFA, the museum, and now at Harvard. 608 00:26:23,940 --> 00:26:27,340 What we had to do is look at Giza as one big Manhattan. 609 00:26:27,340 --> 00:26:28,410 One gridded site. 610 00:26:28,410 --> 00:26:30,410 And thanks to Reisner, he numbered all the tombs 611 00:26:30,410 --> 00:26:32,150 in a wonderfully systematic manner. 612 00:26:32,150 --> 00:26:35,240 So we're looking from the air down at the three pyramids here, 613 00:26:35,240 --> 00:26:39,710 and we realize that it's not even enough just to master this one expedition. 614 00:26:39,710 --> 00:26:42,700 The areas you see in red are the Harvard expedition sites, 615 00:26:42,700 --> 00:26:44,570 but the German Austrian expedition worked 616 00:26:44,570 --> 00:26:47,850 there-- those are the blue areas-- and the Egyptians dug as well. 617 00:26:47,850 --> 00:26:51,900 >> So holistically, trying to understand an ancient site in all of its functions 618 00:26:51,900 --> 00:26:53,790 and all of its chronological development, 619 00:26:53,790 --> 00:26:55,490 you've got to take the whole place. 620 00:26:55,490 --> 00:26:59,230 So that sent me on a worldwide tour with all the colleagues in Egyptology 621 00:26:59,230 --> 00:27:02,030 and the museums at all these places and gathering 622 00:27:02,030 --> 00:27:05,240 all of their diaries, their photographs, their documents, their notes-- 623 00:27:05,240 --> 00:27:07,540 gathering it at all here electronically at Harvard. 624 00:27:07,540 --> 00:27:08,530 And the next step is. 625 00:27:08,530 --> 00:27:11,000 How do we put this all together? 626 00:27:11,000 --> 00:27:14,250 >> This is sort of our site map, and right in the middle 627 00:27:14,250 --> 00:27:16,980 is an individual tomb known in Arabic as a [? mastaba, ?] 628 00:27:16,980 --> 00:27:18,760 this sort of bench like shape. 629 00:27:18,760 --> 00:27:22,510 And so for every tomb, you've got x number of this type of data. 630 00:27:22,510 --> 00:27:26,830 So many old photographs, so many objects registered in the register books. 631 00:27:26,830 --> 00:27:29,080 Diary entries that mention that tomb. 632 00:27:29,080 --> 00:27:32,310 Objects found, drawings made, plans and sections, 633 00:27:32,310 --> 00:27:35,740 published books on published books, and more recently, visualization. 634 00:27:35,740 --> 00:27:38,220 3D computer models. 635 00:27:38,220 --> 00:27:40,510 >> And there's just a sample of an aggregation 636 00:27:40,510 --> 00:27:42,441 of a search for a particular monument. 637 00:27:42,441 --> 00:27:44,940 You see all the different things that are gathered together. 638 00:27:44,940 --> 00:27:49,530 1,012 finds, 45 diary pages that mention this particular temple. 639 00:27:49,530 --> 00:27:52,090 Ancient people, modern people, publications, the whole bit. 640 00:27:52,090 --> 00:27:55,990 Downloadable PDFs all gathered together from a SQL database. 641 00:27:55,990 --> 00:27:57,600 Why is this important? 642 00:27:57,600 --> 00:28:01,530 Just take the comparison of these two images then and now. 643 00:28:01,530 --> 00:28:04,410 This is happening at Giza, this is happening all over Egypt, 644 00:28:04,410 --> 00:28:06,880 and more dramatically, happening all over the Middle East. 645 00:28:06,880 --> 00:28:10,570 And sometimes not by accident, not the elements of time, 646 00:28:10,570 --> 00:28:12,295 but obviously intentional damage. 647 00:28:12,295 --> 00:28:14,990 648 00:28:14,990 --> 00:28:17,522 >> Let me ask you, which of these two things 649 00:28:17,522 --> 00:28:19,730 you're going to be able to read in a couple of years? 650 00:28:19,730 --> 00:28:23,090 651 00:28:23,090 --> 00:28:24,510 Which one of these will survive? 652 00:28:24,510 --> 00:28:29,157 Which one will have a device that can access it in a couple of years time? 653 00:28:29,157 --> 00:28:31,240 So I think the Egyptians got something right here. 654 00:28:31,240 --> 00:28:32,370 Put it on stone. 655 00:28:32,370 --> 00:28:34,360 We can still translate the hieroglyphs there. 656 00:28:34,360 --> 00:28:36,276 I'll bet you anything this hard drive is going 657 00:28:36,276 --> 00:28:37,930 to fail sometime in the near future. 658 00:28:37,930 --> 00:28:40,324 So maybe they understood something that we didn't. 659 00:28:40,324 --> 00:28:43,090 So that's why we've got to preserve this stuff. 660 00:28:43,090 --> 00:28:45,210 >> And from all the databases, all the aggregations 661 00:28:45,210 --> 00:28:49,290 and the websites and things, the natural next step, of course, is visualization. 662 00:28:49,290 --> 00:28:50,820 Put you at the site. 663 00:28:50,820 --> 00:28:54,930 Give you access in 3D to some of these tombs and temples that you might not 664 00:28:54,930 --> 00:28:56,150 be able to see otherwise. 665 00:28:56,150 --> 00:28:59,730 It's a research tool, it's a teaching tool, it's edutourism, 666 00:28:59,730 --> 00:29:01,140 it's even edutainment. 667 00:29:01,140 --> 00:29:03,450 And a lot of this goes back to the really simple stuff. 668 00:29:03,450 --> 00:29:06,605 You see that old, wooden stereo viewer in 3D photography? 669 00:29:06,605 --> 00:29:08,480 Just what we were seeing a little bit before. 670 00:29:08,480 --> 00:29:09,780 It's the same principle, right? 671 00:29:09,780 --> 00:29:11,530 We're just putting it together with things 672 00:29:11,530 --> 00:29:15,310 like GoPro cameras over here and Gear VR and Oculus Rift headsets, 673 00:29:15,310 --> 00:29:17,520 and anything is possible now. 674 00:29:17,520 --> 00:29:21,870 >> So we're moving from teaching in special customized classrooms-- visualization 675 00:29:21,870 --> 00:29:22,700 center labs. 676 00:29:22,700 --> 00:29:25,039 We have one above the Geological Lecture Hall. 677 00:29:25,039 --> 00:29:26,830 Now we're trying to bring it to the people. 678 00:29:26,830 --> 00:29:28,190 Get it into these headsets. 679 00:29:28,190 --> 00:29:30,700 So imagine all of you or everyone watching live 680 00:29:30,700 --> 00:29:33,910 or everyone in HarvardX donning one of these headsets 681 00:29:33,910 --> 00:29:36,800 and we're all standing together in front of the Sphinx, 682 00:29:36,800 --> 00:29:39,010 listening to someone like me drone on all about it. 683 00:29:39,010 --> 00:29:44,899 And we're all there in real time able to look around in 360 degrees. 684 00:29:44,899 --> 00:29:46,190 You can kill the audio on that. 685 00:29:46,190 --> 00:29:48,230 We don't need it on the model. 686 00:29:48,230 --> 00:29:51,670 I'm going to show you how we can go from visualization and a visualized world 687 00:29:51,670 --> 00:29:53,870 to a real physical world too. 688 00:29:53,870 --> 00:29:56,260 This is a find that George Reisner made at Giza right 689 00:29:56,260 --> 00:29:58,830 beside the Great Pyramid in 1925. 690 00:29:58,830 --> 00:30:01,980 And way down at the bottom of 100 foot deep burial shaft 691 00:30:01,980 --> 00:30:05,490 there was an unfinished room with millions of bits of tiny fragments. 692 00:30:05,490 --> 00:30:06,640 All the wood had decayed. 693 00:30:06,640 --> 00:30:07,800 It was a real mass. 694 00:30:07,800 --> 00:30:11,520 So the photos you're seeing show the original condition of that tomb, 695 00:30:11,520 --> 00:30:13,980 and now we're going into our 3D computer model. 696 00:30:13,980 --> 00:30:17,150 And we're able, thanks to meticulous documentation, 697 00:30:17,150 --> 00:30:19,280 to put that whole tomb's contents together. 698 00:30:19,280 --> 00:30:23,120 >> And you see all this furniture-- that curtain box and chairs and tables. 699 00:30:23,120 --> 00:30:26,570 I want you to focus on that chair that has the falcon arms there. 700 00:30:26,570 --> 00:30:29,670 So this material was actually reconstructed in modern wood, 701 00:30:29,670 --> 00:30:32,060 and it's on display in the Cairo Museum and used 702 00:30:32,060 --> 00:30:35,310 to be on display in the Boston MFA, although they've taken it off view 703 00:30:35,310 --> 00:30:37,420 to use that gallery for something else. 704 00:30:37,420 --> 00:30:39,910 Nobody, however, has been able to reconstruct 705 00:30:39,910 --> 00:30:42,072 that fancy chair with the falcon arms. 706 00:30:42,072 --> 00:30:44,155 Thanks to this computer model and this simulation, 707 00:30:44,155 --> 00:30:46,350 though, we can actually start to do that. 708 00:30:46,350 --> 00:30:48,300 >> So in the upper left you see the reproductions 709 00:30:48,300 --> 00:30:49,730 of some of that furniture. 710 00:30:49,730 --> 00:30:52,380 And it turns out to belong to a queen. 711 00:30:52,380 --> 00:30:55,940 Not any queen, but the mother of the king who built the Great Pyramid-- 712 00:30:55,940 --> 00:30:57,510 Queen Hetepheres. 713 00:30:57,510 --> 00:30:58,770 Big, mysterious burial. 714 00:30:58,770 --> 00:31:00,430 All this stuff deteriorated. 715 00:31:00,430 --> 00:31:01,590 What do we make of it? 716 00:31:01,590 --> 00:31:03,510 But we were able to take our computer model 717 00:31:03,510 --> 00:31:06,780 and reproduce this chair with the beautiful falcon arms. 718 00:31:06,780 --> 00:31:09,350 So now you're seeing this rotating 3D of the model. 719 00:31:09,350 --> 00:31:11,920 Then we decided to go to the real world. 720 00:31:11,920 --> 00:31:14,900 >> We looked at photographs of all the teensy, tinsy fragments. 721 00:31:14,900 --> 00:31:18,530 The gold, the gilding, the [INAUDIBLE] inlay tiles, the desecrated wood. 722 00:31:18,530 --> 00:31:21,860 All of this is on trays in the basement of the Cairo Museum. 723 00:31:21,860 --> 00:31:25,000 And from there, we were able to move to a shop bot, which 724 00:31:25,000 --> 00:31:26,760 is a 3D milling machine or router. 725 00:31:26,760 --> 00:31:30,425 And you can see a simple [? Mac ?] with a 3D model is driving the drill here, 726 00:31:30,425 --> 00:31:33,050 and it's actually carving those falcon arms 727 00:31:33,050 --> 00:31:35,379 that will go on the sides of the chair. 728 00:31:35,379 --> 00:31:38,170 So this has been an exciting project put together by my colleagues, 729 00:31:38,170 --> 00:31:40,628 Russ [? Gant ?] and [? Dave Hopkins ?] of the Giza Project. 730 00:31:40,628 --> 00:31:43,574 And we're almost done, and we hope to have this on display 731 00:31:43,574 --> 00:31:45,740 in a couple of months in the Harvard Semitic Museum, 732 00:31:45,740 --> 00:31:48,150 which I have the privilege to direct. 733 00:31:48,150 --> 00:31:49,800 >> So from that arm, there you go. 734 00:31:49,800 --> 00:31:51,930 You see some of the pieces already coming together. 735 00:31:51,930 --> 00:31:53,930 For those of you who have been across the river, 736 00:31:53,930 --> 00:31:56,220 the Harvard Ceramics Center has donated their time, 737 00:31:56,220 --> 00:31:59,931 and we've been baking [INAUDIBLE] tiles in these wonderful plaster molds. 738 00:31:59,931 --> 00:32:02,180 We just ordered the gold today because the whole thing 739 00:32:02,180 --> 00:32:03,680 has to be wrapped and gilded. 740 00:32:03,680 --> 00:32:07,200 And eventually, we hope to put this on display. 741 00:32:07,200 --> 00:32:10,830 >> From there, the question is holistically again, how do we treat the entire site? 742 00:32:10,830 --> 00:32:13,260 How do we build computer models of all of Giza? 743 00:32:13,260 --> 00:32:16,080 Not just one tomb here or there, but the whole thing. 744 00:32:16,080 --> 00:32:19,937 The pyramids, the landscape, the [INAUDIBLE] tombs, the royal temples. 745 00:32:19,937 --> 00:32:22,020 And I'm part of a project that just got permission 746 00:32:22,020 --> 00:32:24,010 from the Egyptian authorities about a week ago, 747 00:32:24,010 --> 00:32:25,834 and we'll start this month doing all kinds 748 00:32:25,834 --> 00:32:27,250 of pretty interesting experiments. 749 00:32:27,250 --> 00:32:28,930 So take a look at this video. 750 00:32:28,930 --> 00:32:32,430 Maybe the music could come up a little bit just to add a little bit of drama. 751 00:32:32,430 --> 00:32:34,310 Just a minute or so. 752 00:32:34,310 --> 00:32:39,020 >> So these are some of the tools we'll be using to explore inside the pyramids 753 00:32:39,020 --> 00:32:41,056 and survey the entire site. 754 00:32:41,056 --> 00:32:44,528 >> [MUSIC PLAYING] 755 00:32:44,528 --> 00:33:06,249 756 00:33:06,249 --> 00:33:07,290 This is my favorite part. 757 00:33:07,290 --> 00:33:10,590 It's right out of The Terminator with the drones hovering over the place 758 00:33:10,590 --> 00:33:12,718 and scanning the entire landscape. 759 00:33:12,718 --> 00:33:15,176 Something I've been dreaming of doing for many, many years. 760 00:33:15,176 --> 00:33:18,578 >> [MUSIC PLAYING] 761 00:33:18,578 --> 00:33:22,470 762 00:33:22,470 --> 00:33:26,160 >> So with that kind of comprehensive accessible to the whole place, 763 00:33:26,160 --> 00:33:27,350 everything is possible. 764 00:33:27,350 --> 00:33:30,820 And our ultimate vision is to put it all together so you have a navigable, 765 00:33:30,820 --> 00:33:33,090 immersive, 3D model of the whole site. 766 00:33:33,090 --> 00:33:36,435 You can dive down burial shafts, you can go into tombs, click on walls. 767 00:33:36,435 --> 00:33:38,650 The 100-year-old photography pops up. 768 00:33:38,650 --> 00:33:40,760 You can read the diary entries, you can virtually 769 00:33:40,760 --> 00:33:43,560 replace statues and things that were found inside. 770 00:33:43,560 --> 00:33:45,246 It all comes together. 771 00:33:45,246 --> 00:33:47,620 For those of you who want to explore what's online so far 772 00:33:47,620 --> 00:33:52,290 we have a slightly old and outdated website up above. gizapyramids.org. 773 00:33:52,290 --> 00:33:55,020 We're working very hard to replace that with version 2.0. 774 00:33:55,020 --> 00:33:57,826 We could use your help in various aspects of it. 775 00:33:57,826 --> 00:34:00,200 And then the 3D models that we're about to take a look at 776 00:34:00,200 --> 00:34:03,660 are down on this other website, which unfortunately does not work on Macs, 777 00:34:03,660 --> 00:34:05,370 which kills me but nevertheless. 778 00:34:05,370 --> 00:34:07,670 PCs only and no www there. 779 00:34:07,670 --> 00:34:11,310 Take a look at that, and you'll see the 3D models there as well. 780 00:34:11,310 --> 00:34:12,739 >> There is our new layout. 781 00:34:12,739 --> 00:34:15,230 You can see how massive amounts of data like this 782 00:34:15,230 --> 00:34:18,860 have to be organized clearly because it's not all Egyptologists out there. 783 00:34:18,860 --> 00:34:21,370 We've got to make this understandable and accessible 784 00:34:21,370 --> 00:34:23,010 to all kinds of audiences. 785 00:34:23,010 --> 00:34:26,000 And maybe a mock up of what our future website might look like. 786 00:34:26,000 --> 00:34:28,550 Hopefully a lot more elegant and not like those creepy 787 00:34:28,550 --> 00:34:32,260 blinking websites from the 1990s that I remember oh so well, 788 00:34:32,260 --> 00:34:34,250 even from my own days. 789 00:34:34,250 --> 00:34:37,046 >> So I just thought I'd put together a list of the kind of projects 790 00:34:37,046 --> 00:34:39,920 that you might be interested in if you're hovering around and looking 791 00:34:39,920 --> 00:34:40,880 for a final project. 792 00:34:40,880 --> 00:34:42,949 I know due dates are coming up pretty soon. 793 00:34:42,949 --> 00:34:45,000 Something like these might be of interest to you. 794 00:34:45,000 --> 00:34:47,958 Obviously you want to bite off something that you can chew and swallow. 795 00:34:47,958 --> 00:34:48,899 Not too ambitious. 796 00:34:48,899 --> 00:34:51,440 But if this is something up your alley, get in touch with me, 797 00:34:51,440 --> 00:34:53,860 get in touch with the professor, [INAUDIBLE] 798 00:34:53,860 --> 00:34:56,442 get in touch with [? Russ Gant ?] and the other Giza team 799 00:34:56,442 --> 00:34:58,900 and maybe we can help you out and build something together, 800 00:34:58,900 --> 00:35:00,260 which might be kind of fun. 801 00:35:00,260 --> 00:35:03,700 We can post this list, so you don't need to jot everything down instantly right 802 00:35:03,700 --> 00:35:04,200 now. 803 00:35:04,200 --> 00:35:05,524 And check it out later on. 804 00:35:05,524 --> 00:35:08,690 And if you really like Ancient Egypt and want to get into more of this stuff 805 00:35:08,690 --> 00:35:10,481 next semester, there's a Gen Ed class which 806 00:35:10,481 --> 00:35:12,870 surveys 3,000 or 4,000 years of Egyptian culture, 807 00:35:12,870 --> 00:35:15,860 and you might want to look into that as well. 808 00:35:15,860 --> 00:35:17,620 >> So that is just a quick overview. 809 00:35:17,620 --> 00:35:20,450 And I thought if my model is behaving now 810 00:35:20,450 --> 00:35:25,290 we might take a look at what Giza looks like in 3D. 811 00:35:25,290 --> 00:35:28,340 And this is what you would see on that second website. 812 00:35:28,340 --> 00:35:30,012 So welcome to the Giza Pyramids. 813 00:35:30,012 --> 00:35:32,720 And in this case, we had to study not just the layout of the site 814 00:35:32,720 --> 00:35:34,720 but of course the ancient landscape. 815 00:35:34,720 --> 00:35:37,200 Look at the Nile and how close it is to the pyramids. 816 00:35:37,200 --> 00:35:39,160 Today, the Nile is way far away. 817 00:35:39,160 --> 00:35:40,700 It's much closer to Cairo itself. 818 00:35:40,700 --> 00:35:43,010 But in those days, in the third millennium, 819 00:35:43,010 --> 00:35:46,270 it was hovering and flowing much closer to the site as well. 820 00:35:46,270 --> 00:35:49,520 So we had to take away modern archaeological debris dumps and houses 821 00:35:49,520 --> 00:35:52,610 and all kinds of things and really study the site carefully. 822 00:35:52,610 --> 00:35:55,150 >> So what we have built so far you can just hover around. 823 00:35:55,150 --> 00:35:58,980 And you see things blinking red, and you can visit various places such 824 00:35:58,980 --> 00:36:01,577 as the Temple of [? Kingman ?] [? Kalray ?] here. 825 00:36:01,577 --> 00:36:03,910 This is an interesting one because it allows us to study 826 00:36:03,910 --> 00:36:07,130 the place at multiple points in time. 827 00:36:07,130 --> 00:36:11,770 This is a temple that was built by [? Kingman ?] [? Kalray, ?] the builder 828 00:36:11,770 --> 00:36:15,390 of the third and smallest pyramid, but he died too soon and his son had to try 829 00:36:15,390 --> 00:36:18,700 to finish it not in stone, but in mud brick. 830 00:36:18,700 --> 00:36:21,490 So I can go to my little free cam here. 831 00:36:21,490 --> 00:36:22,900 Different ways to navigate. 832 00:36:22,900 --> 00:36:26,286 And I can just hover around and cruise inside. 833 00:36:26,286 --> 00:36:27,786 We've got to go visit the kitty cat. 834 00:36:27,786 --> 00:36:28,910 One of my favorites. 835 00:36:28,910 --> 00:36:30,480 There he is. 836 00:36:30,480 --> 00:36:32,710 Try to build one of those for your final project. 837 00:36:32,710 --> 00:36:35,150 >> But the interesting thing is this particular courtyard 838 00:36:35,150 --> 00:36:37,050 underwent a lot of change. 839 00:36:37,050 --> 00:36:40,220 And so this is how it looked at one point, and then as I mentioned, 840 00:36:40,220 --> 00:36:42,030 the King died too soon. 841 00:36:42,030 --> 00:36:44,730 Later, priests move in and actually settled the place 842 00:36:44,730 --> 00:36:47,090 and turned it into a kind of sacred slum. 843 00:36:47,090 --> 00:36:49,320 And you can see all the settlements now filling 844 00:36:49,320 --> 00:36:52,800 the courtyard with silos and ovens and other storage place. 845 00:36:52,800 --> 00:36:55,360 [? It's ?] a very, very different kind of location. 846 00:36:55,360 --> 00:36:57,210 >> So this is an interesting research tool. 847 00:36:57,210 --> 00:36:59,890 You can visit these places at different points in time. 848 00:36:59,890 --> 00:37:03,290 You can even see the pyramids being built, or you come into the courtyard. 849 00:37:03,290 --> 00:37:05,290 And if I can get to that photograph, you can 850 00:37:05,290 --> 00:37:07,620 see what those statues there actually looked 851 00:37:07,620 --> 00:37:09,349 like when the excavators found them. 852 00:37:09,349 --> 00:37:11,390 Here it is in one of those glass plate negatives. 853 00:37:11,390 --> 00:37:14,390 Beautiful dig shots. 854 00:37:14,390 --> 00:37:18,130 Or you can come back to the main site and visit something else. 855 00:37:18,130 --> 00:37:22,524 >> Let me take you inside a beautiful tomb found in 1927. 856 00:37:22,524 --> 00:37:24,440 Of course, on the last days of the dig season. 857 00:37:24,440 --> 00:37:26,070 Isn't that always the way? 858 00:37:26,070 --> 00:37:28,870 So clicking these buttons will either give you a narrated tour, 859 00:37:28,870 --> 00:37:31,050 you can see some photos, you can see wire frames 860 00:37:31,050 --> 00:37:33,150 of how we put some of these things together, 861 00:37:33,150 --> 00:37:37,770 or of course, you could wander right into the monuments themselves. 862 00:37:37,770 --> 00:37:41,050 So this is a beauty because a lot of the original color was preserved, 863 00:37:41,050 --> 00:37:43,846 and that let us restore the tomb completely. 864 00:37:43,846 --> 00:37:47,600 It's another navigation system I'm using. 865 00:37:47,600 --> 00:37:50,510 So how cool is that? 866 00:37:50,510 --> 00:37:54,250 And again, you can click on photos and up popped the actual images 867 00:37:54,250 --> 00:37:56,460 for comparison's sake. 868 00:37:56,460 --> 00:37:59,900 >> So trying to put this all together-- take a comprehensive view of Giza, 869 00:37:59,900 --> 00:38:03,120 the ancient site of Giza, the history of the excavations, 870 00:38:03,120 --> 00:38:06,970 the 3D visualization, a teaching tool, a research tool-- basically, 871 00:38:06,970 --> 00:38:07,900 there's no end to it. 872 00:38:07,900 --> 00:38:11,860 And of course, it's Giza past, it's Giza present, and it's Giza future. 873 00:38:11,860 --> 00:38:14,170 There is work being done at the site nowadays too, 874 00:38:14,170 --> 00:38:16,150 and we want to capture all that as well. 875 00:38:16,150 --> 00:38:21,670 So the goal is to try to create a center, if not an actual physical space 876 00:38:21,670 --> 00:38:25,080 but at least online, that anyone can come and study, have access 877 00:38:25,080 --> 00:38:26,080 to all this material. 878 00:38:26,080 --> 00:38:28,420 You don't need a special travel grant and permissions 879 00:38:28,420 --> 00:38:30,520 to get into some dusty museum archive. 880 00:38:30,520 --> 00:38:32,475 You can access whatever you need to. 881 00:38:32,475 --> 00:38:34,120 >> Let me take you to the Sphinx here. 882 00:38:34,120 --> 00:38:38,460 And again, imagine wearing these 3D headsets and everybody having access 883 00:38:38,460 --> 00:38:40,950 to the same file at the same time and all of us 884 00:38:40,950 --> 00:38:42,829 meeting at the Sphinx for a lecture. 885 00:38:42,829 --> 00:38:43,870 And then push the button. 886 00:38:43,870 --> 00:38:46,706 We'll go down a burial shaft or go someplace else. 887 00:38:46,706 --> 00:38:49,580 The interesting thing about these models too, once you simulate them, 888 00:38:49,580 --> 00:38:52,040 is they bring up interesting questions. 889 00:38:52,040 --> 00:38:55,140 For example, no one in my field really thinks too 890 00:38:55,140 --> 00:38:58,100 much about how the Sphinx was painted. 891 00:38:58,100 --> 00:39:00,120 Is that the accurate appearance? 892 00:39:00,120 --> 00:39:04,950 Was the whole thing colored, or was it just the head 893 00:39:04,950 --> 00:39:07,480 of the Sphinx as we've chosen to do it now? 894 00:39:07,480 --> 00:39:08,840 Switching my navigation. 895 00:39:08,840 --> 00:39:09,340 There we go. 896 00:39:09,340 --> 00:39:13,360 So it's a little easier for me to get around. 897 00:39:13,360 --> 00:39:15,970 So this is probably one of the most accurate reconstructions 898 00:39:15,970 --> 00:39:19,880 of the Sphinx ever attempted, and again, you don't think of these issues 899 00:39:19,880 --> 00:39:21,940 until you have to build them. 900 00:39:21,940 --> 00:39:23,630 How was the Sphinx originally laid out? 901 00:39:23,630 --> 00:39:24,490 How was it colored? 902 00:39:24,490 --> 00:39:25,660 Where was that beard? 903 00:39:25,660 --> 00:39:29,330 We haven't added things that were added by the Egyptians in later centuries 904 00:39:29,330 --> 00:39:32,180 when they came back and sort of resuscitated the site. 905 00:39:32,180 --> 00:39:33,080 >> Or another example. 906 00:39:33,080 --> 00:39:35,870 We have a tomb with a window in it to the outside. 907 00:39:35,870 --> 00:39:39,380 And in reconstructing that tomb we realized the sunlight would come right 908 00:39:39,380 --> 00:39:42,430 through that window and illuminate a kind of sacred offering 909 00:39:42,430 --> 00:39:44,586 place inside the chapel, and that's something 910 00:39:44,586 --> 00:39:46,960 we wouldn't have realized if we hadn't simulated the tomb 911 00:39:46,960 --> 00:39:48,240 and put it back together. 912 00:39:48,240 --> 00:39:52,370 And that, in turn, makes you think, well, what building was right outside 913 00:39:52,370 --> 00:39:54,340 and would it have blocked that sunlight? 914 00:39:54,340 --> 00:39:57,990 And if it blocked that sunlight and that religious significance of illuminating 915 00:39:57,990 --> 00:40:01,360 a sacred space, does that mean that our tomb was here first 916 00:40:01,360 --> 00:40:03,190 and the second building came second? 917 00:40:03,190 --> 00:40:06,160 Can we now start to historically reconstruct 918 00:40:06,160 --> 00:40:09,080 the sequence of Giza tombs just based on sunlight, just based 919 00:40:09,080 --> 00:40:11,600 on simulations and reconstructions? 920 00:40:11,600 --> 00:40:14,740 >> So those are some of the ways that we're using these models to study Giza, 921 00:40:14,740 --> 00:40:18,190 to teach about Giza, and more importantly, to roam the world, 922 00:40:18,190 --> 00:40:21,050 assemble all the material that we can find, and then 923 00:40:21,050 --> 00:40:23,680 move into the 3D space and the visualization space 924 00:40:23,680 --> 00:40:27,160 and bring it home to your desktops, to your phones, to your headsets. 925 00:40:27,160 --> 00:40:29,750 And you'll be able to travel to the site without even 926 00:40:29,750 --> 00:40:31,440 buying a plane ticket eventually. 927 00:40:31,440 --> 00:40:32,695 Thanks very much. 928 00:40:32,695 --> 00:40:36,090 >> [APPLAUSE] 929 00:40:36,090 --> 00:40:38,000 930 00:40:38,000 --> 00:40:39,790 >> Happy to answer a question or if you have 931 00:40:39,790 --> 00:40:42,920 more headsets you want to demonstrate or anything we need to do in the time 932 00:40:42,920 --> 00:40:43,490 we have left. 933 00:40:43,490 --> 00:40:46,656 If any of those topics caught your eye and you'd like to hear more about it, 934 00:40:46,656 --> 00:40:50,040 do come up afterwards and happy to chat further. 935 00:40:50,040 --> 00:40:53,210 936 00:40:53,210 --> 00:40:53,760 Questions? 937 00:40:53,760 --> 00:40:54,260 Comments? 938 00:40:54,260 --> 00:40:57,030 939 00:40:57,030 --> 00:40:58,159 Yeah? 940 00:40:58,159 --> 00:41:00,075 >> AUDIENCE: Do you have a position on the idea 941 00:41:00,075 --> 00:41:02,707 that there was water erosion [INAUDIBLE]? 942 00:41:02,707 --> 00:41:04,040 PETER MANUELIAN: Great question. 943 00:41:04,040 --> 00:41:05,620 So water erosion at the Sphinx. 944 00:41:05,620 --> 00:41:07,630 There was a theory by geologists who thought 945 00:41:07,630 --> 00:41:10,740 that this proved that the Sphinx was 5,000 or 10,000 years older 946 00:41:10,740 --> 00:41:13,874 than the rest of the pyramids based on water erosion patterns. 947 00:41:13,874 --> 00:41:15,790 It actually doesn't hold up particularly well. 948 00:41:15,790 --> 00:41:18,070 You can look at the erosion patterns in areas 949 00:41:18,070 --> 00:41:21,030 around the Sphinx which pretty much discredit that theory. 950 00:41:21,030 --> 00:41:24,170 >> There are three geological member formations of the Sphinx. 951 00:41:24,170 --> 00:41:25,470 The solid one is at the top. 952 00:41:25,470 --> 00:41:28,000 That's why the face survived so well today. 953 00:41:28,000 --> 00:41:31,390 Others a lot more [? friable, ?] but it doesn't hold up archaeologically 954 00:41:31,390 --> 00:41:34,810 that the Sphinx is of a different time period from the pyramids themselves. 955 00:41:34,810 --> 00:41:37,130 There is debate about who carved the Sphinx. 956 00:41:37,130 --> 00:41:40,540 Whether it was Khafre, the builder of the second pyramid, or some people 957 00:41:40,540 --> 00:41:43,189 now think Khufu himself, the builder of the Great Pyramid. 958 00:41:43,189 --> 00:41:45,480 That's an ongoing debate, but they're all contemporary. 959 00:41:45,480 --> 00:41:48,550 They're all Old Kingdom, all about 2500 BC. 960 00:41:48,550 --> 00:41:50,940 Great Question. 961 00:41:50,940 --> 00:41:51,990 Yeah, please. 962 00:41:51,990 --> 00:41:53,448 >> AUDIENCE: What was the [INAUDIBLE]? 963 00:41:53,448 --> 00:41:55,065 964 00:41:55,065 --> 00:41:56,190 PETER MANUELIAN: Say again. 965 00:41:56,190 --> 00:41:57,688 The head of the Sphinx painted? 966 00:41:57,688 --> 00:41:58,842 >> AUDIENCE: [INAUDIBLE] 967 00:41:58,842 --> 00:42:00,800 PETER MANUELIAN: Why was the head of the Sphinx 968 00:42:00,800 --> 00:42:02,410 painted and not the rest of the body? 969 00:42:02,410 --> 00:42:05,040 Great archaeological question, and we don't know the answer. 970 00:42:05,040 --> 00:42:07,360 It's possible that the entire body was painted. 971 00:42:07,360 --> 00:42:10,460 It's so deteriorated and the casing stones around the edge 972 00:42:10,460 --> 00:42:12,960 are not always preserved, so it may have been painted 973 00:42:12,960 --> 00:42:15,150 and we just don't see the traces left today. 974 00:42:15,150 --> 00:42:17,790 >> I personally have trouble believing that the Egyptians would 975 00:42:17,790 --> 00:42:22,260 amass that much paint to cover the entire body with a reddish brown tinge, 976 00:42:22,260 --> 00:42:23,610 but it's certainly possible. 977 00:42:23,610 --> 00:42:27,150 We've opted for just doing the headdress and the face where there are traces 978 00:42:27,150 --> 00:42:29,350 of reddish brown color and there are traces 979 00:42:29,350 --> 00:42:31,530 of the stripes on the so-called headdress. 980 00:42:31,530 --> 00:42:35,610 And nowadays, you can see a piece of the Sphinx's beard in the British Museum 981 00:42:35,610 --> 00:42:38,686 and a piece of the uraeus, the cobra on the brow there, 982 00:42:38,686 --> 00:42:40,060 is actually in the Cairo museums. 983 00:42:40,060 --> 00:42:41,685 So we have some good evidence for that. 984 00:42:41,685 --> 00:42:44,517 985 00:42:44,517 --> 00:42:45,100 In the corner. 986 00:42:45,100 --> 00:42:46,032 Yeah, please. 987 00:42:46,032 --> 00:42:50,280 >> AUDIENCE: You said that the Nile was a lot more [INAUDIBLE] Giza [INAUDIBLE] 988 00:42:50,280 --> 00:42:52,168 closer to Cairo now. 989 00:42:52,168 --> 00:42:53,590 How does the river more? 990 00:42:53,590 --> 00:42:54,600 >> PETER MANUELIAN: How does the river move? 991 00:42:54,600 --> 00:42:55,890 There's a lot of meandering. 992 00:42:55,890 --> 00:43:00,130 So a lot of power and pushing and oxbow lakes and things 993 00:43:00,130 --> 00:43:01,420 are part of river formations. 994 00:43:01,420 --> 00:43:04,350 The Nile doesn't quite do that, but it has meandered quite a bit. 995 00:43:04,350 --> 00:43:07,750 I could refer you to an article by some geologists colleagues of mine. 996 00:43:07,750 --> 00:43:10,970 And it's an amazing ribbon over the last several thousand years 997 00:43:10,970 --> 00:43:12,820 of just where the Nile has moved to. 998 00:43:12,820 --> 00:43:16,280 So once you realize that landscape issues like where the Nile was, 999 00:43:16,280 --> 00:43:19,826 you start to understand, oh, that's why they built that causeway 1000 00:43:19,826 --> 00:43:21,200 and that's why it turns a corner. 1001 00:43:21,200 --> 00:43:23,630 That must be the high ground they're trying to stay on. 1002 00:43:23,630 --> 00:43:25,970 And so you understand harbors a lot better. 1003 00:43:25,970 --> 00:43:28,600 >> You understand how they got some of the fine casing stones 1004 00:43:28,600 --> 00:43:31,915 to Giza from sites across the Nile, for example. 1005 00:43:31,915 --> 00:43:34,290 So these all contribute to our understanding of the site. 1006 00:43:34,290 --> 00:43:37,950 It's a little myopic to just study the hieroglyphs or study the buildings 1007 00:43:37,950 --> 00:43:40,620 and not understand the landscape and how it changed. 1008 00:43:40,620 --> 00:43:44,346 Egypt was a lot less arid at that point to, so there may even be landscaping 1009 00:43:44,346 --> 00:43:46,970 around the pyramids that we should be putting in and a lot more 1010 00:43:46,970 --> 00:43:50,297 growth and vegetation and interesting things. 1011 00:43:50,297 --> 00:43:52,380 Some of the issues in the models I didn't show you 1012 00:43:52,380 --> 00:43:54,440 but we have in our visualization center classroom 1013 00:43:54,440 --> 00:43:59,360 is the ability to put humans into the scene as avatars performing activities. 1014 00:43:59,360 --> 00:44:02,320 And so for example, we can show the Great Pyramid being built 1015 00:44:02,320 --> 00:44:05,960 and take you to the query where a lot of the stones are being carved. 1016 00:44:05,960 --> 00:44:10,580 And that's a model that as 2,000 avatars all 1017 00:44:10,580 --> 00:44:13,810 traveling around the site and hacking the limestone bits and hauling them 1018 00:44:13,810 --> 00:44:15,510 along sleds and things like that. 1019 00:44:15,510 --> 00:44:17,630 So it also brings the site to life and shows you 1020 00:44:17,630 --> 00:44:19,660 how the construction process worked. 1021 00:44:19,660 --> 00:44:23,270 >> We've also done the re-animation ceremony of King Khufu. 1022 00:44:23,270 --> 00:44:25,530 That's called the opening of the mouth ceremony. 1023 00:44:25,530 --> 00:44:29,045 So in his temple, right beside his pyramid, we have got his mummy there, 1024 00:44:29,045 --> 00:44:29,920 the priest are there. 1025 00:44:29,920 --> 00:44:31,420 They're doing their ritual gestures. 1026 00:44:31,420 --> 00:44:33,970 They're saying the spells to magically reanimate 1027 00:44:33,970 --> 00:44:36,607 the spirit of the deceased King for the nether world. 1028 00:44:36,607 --> 00:44:38,690 So these are all ways that the models can actually 1029 00:44:38,690 --> 00:44:41,956 show us actual activities of the ancient Egyptians. 1030 00:44:41,956 --> 00:44:43,830 And there again, they bring up new questions. 1031 00:44:43,830 --> 00:44:44,659 Did it occur here? 1032 00:44:44,659 --> 00:44:45,450 Did it occur there? 1033 00:44:45,450 --> 00:44:46,324 Should it be daytime? 1034 00:44:46,324 --> 00:44:47,400 Should it be nighttime? 1035 00:44:47,400 --> 00:44:49,820 All of these things you don't think about when you're writing a journal 1036 00:44:49,820 --> 00:44:51,660 article with black and white line drawings, 1037 00:44:51,660 --> 00:44:55,440 but you're doing an animated 3D simulation. 1038 00:44:55,440 --> 00:44:56,029 Yes, please? 1039 00:44:56,029 --> 00:44:56,904 AUDIENCE: [INAUDIBLE] 1040 00:44:56,904 --> 00:44:59,527 1041 00:44:59,527 --> 00:45:01,110 PETER MANUELIAN: Little louder, sorry. 1042 00:45:01,110 --> 00:45:02,051 Can't hear you. 1043 00:45:02,051 --> 00:45:05,210 >> AUDIENCE: [INAUDIBLE] do these models incorporate sounds [INAUDIBLE]? 1044 00:45:05,210 --> 00:45:06,370 >> PETER MANUELIAN: Are there sounds in the model here? 1045 00:45:06,370 --> 00:45:07,328 Was that your question? 1046 00:45:07,328 --> 00:45:08,630 Yes, there are actually. 1047 00:45:08,630 --> 00:45:13,810 Sometimes it's music to certain tastes, but we do have rumblings of the wind, 1048 00:45:13,810 --> 00:45:14,620 for example. 1049 00:45:14,620 --> 00:45:17,730 We haven't recreated people actually speaking in ancient Egyptian. 1050 00:45:17,730 --> 00:45:21,200 They could, but we'd probably get the pronunciations pretty bad. 1051 00:45:21,200 --> 00:45:24,880 There are spells and rituals and things represented on the carved tomb wall 1052 00:45:24,880 --> 00:45:27,320 scenes and paintings, so we could certainly do that. 1053 00:45:27,320 --> 00:45:29,880 The occasional cat probably screeches and things like that, 1054 00:45:29,880 --> 00:45:32,540 but otherwise we haven't done too much with the audio. 1055 00:45:32,540 --> 00:45:33,040 Ambiance. 1056 00:45:33,040 --> 00:45:38,520 1057 00:45:38,520 --> 00:45:41,090 Another question? 1058 00:45:41,090 --> 00:45:42,053 Yes, please. 1059 00:45:42,053 --> 00:45:45,284 >> AUDIENCE: Why are there exterior walls? 1060 00:45:45,284 --> 00:45:47,200 PETER MANUELIAN: Why are there exterior walls? 1061 00:45:47,200 --> 00:45:48,660 These are enclosure walls. 1062 00:45:48,660 --> 00:45:51,460 So don't think of the pyramid as a standalone monument. 1063 00:45:51,460 --> 00:45:53,779 Think of it as a pyramid, a temple. 1064 00:45:53,779 --> 00:45:56,070 You see that reddish one with the granite blocks there? 1065 00:45:56,070 --> 00:45:57,970 That's called the Pyramid Temple. 1066 00:45:57,970 --> 00:46:00,320 It extends down a long causeway to what's 1067 00:46:00,320 --> 00:46:03,660 called the Valley Temple close to the harbor and close to the Nile. 1068 00:46:03,660 --> 00:46:06,080 All of that is part of the royal pyramid complex, 1069 00:46:06,080 --> 00:46:08,540 and it could also include little pyramids 1070 00:46:08,540 --> 00:46:13,132 like you see here for the queens and even a ritual pyramid, 1071 00:46:13,132 --> 00:46:14,840 like you see here, where no one is buried 1072 00:46:14,840 --> 00:46:20,150 but it's just part of the animated deceased's spirit of the deceased King. 1073 00:46:20,150 --> 00:46:22,710 So enclosure walls are probably to protect it. 1074 00:46:22,710 --> 00:46:24,410 >> Who has access to this place? 1075 00:46:24,410 --> 00:46:26,950 Remember, these are the upper echelons of Egyptian society. 1076 00:46:26,950 --> 00:46:29,540 Your average, illiterate, farming Egyptian 1077 00:46:29,540 --> 00:46:31,180 is not going to get a tomb like this. 1078 00:46:31,180 --> 00:46:32,513 He's never going to see pharaoh. 1079 00:46:32,513 --> 00:46:33,650 He can't read hieroglyphs. 1080 00:46:33,650 --> 00:46:36,940 So these are the elites of the elite of the Old Kingdom, 1081 00:46:36,940 --> 00:46:39,151 and they get enclosure walls to protect them. 1082 00:46:39,151 --> 00:46:41,980 1083 00:46:41,980 --> 00:46:43,036 Got time for one more. 1084 00:46:43,036 --> 00:46:46,850 1085 00:46:46,850 --> 00:46:48,300 Yeah, please. 1086 00:46:48,300 --> 00:46:50,160 >> AUDIENCE: Why were the pyramids built? 1087 00:46:50,160 --> 00:46:52,035 >> PETER MANUELIAN: Why were the pyramids built? 1088 00:46:52,035 --> 00:46:54,130 They are basically tombs for the deceased pharaoh. 1089 00:46:54,130 --> 00:46:56,600 So in the popular literature, in the movies, 1090 00:46:56,600 --> 00:46:59,630 you've got this despotic tyrant who is bringing all these slaves in-- 1091 00:46:59,630 --> 00:47:00,880 and they're not Hebrew slaves. 1092 00:47:00,880 --> 00:47:02,280 They're actual Egyptians. 1093 00:47:02,280 --> 00:47:04,240 I tend to stay away from the word slavery. 1094 00:47:04,240 --> 00:47:06,259 These are conscripted Egyptians. 1095 00:47:06,259 --> 00:47:08,050 And my view is that they're actually buying 1096 00:47:08,050 --> 00:47:10,410 into this national project in some way. 1097 00:47:10,410 --> 00:47:13,400 By guaranteeing a successful afterlife for this King 1098 00:47:13,400 --> 00:47:15,700 they are guaranteeing the prosperity of the country. 1099 00:47:15,700 --> 00:47:18,080 They're paving the way for the next pharaoh who will 1100 00:47:18,080 --> 00:47:20,420 inhabit this institution of kingship. 1101 00:47:20,420 --> 00:47:23,890 So these are national pride projects for the reigning pharaoh, 1102 00:47:23,890 --> 00:47:25,450 for the success of the country. 1103 00:47:25,450 --> 00:47:27,710 It's almost an investment in their future in a way. 1104 00:47:27,710 --> 00:47:30,126 >> A colleague of mine likes to say that the Egyptians didn't 1105 00:47:30,126 --> 00:47:30,930 build the pyramids. 1106 00:47:30,930 --> 00:47:33,300 The pyramids built Egypt. 1107 00:47:33,300 --> 00:47:36,840 And by that he means that this is how state formation came about. 1108 00:47:36,840 --> 00:47:39,090 Project management information. 1109 00:47:39,090 --> 00:47:39,660 Management. 1110 00:47:39,660 --> 00:47:41,960 Of course, these people have to be fed, they have to be housed, 1111 00:47:41,960 --> 00:47:43,150 they have to be organized. 1112 00:47:43,150 --> 00:47:44,400 Where does all that come from? 1113 00:47:44,400 --> 00:47:47,190 >> Who brings them the meat so they have good diets so they 1114 00:47:47,190 --> 00:47:48,880 have strength to move the blocks? 1115 00:47:48,880 --> 00:47:50,320 Who organizes the housing? 1116 00:47:50,320 --> 00:47:52,736 Where do they come from in different parts of the country? 1117 00:47:52,736 --> 00:47:55,200 How many people do you need to haul a certain block? 1118 00:47:55,200 --> 00:47:57,570 All of this had to be worked out, and we're exploring 1119 00:47:57,570 --> 00:47:59,190 those aspects of the site today too. 1120 00:47:59,190 --> 00:48:02,120 So more chapters about the pyramids will be written, 1121 00:48:02,120 --> 00:48:05,050 more discoveries will be made, more statues will be found, 1122 00:48:05,050 --> 00:48:07,910 and more tombs and inscriptions will be forthcoming as well. 1123 00:48:07,910 --> 00:48:10,360 The place is alive and growing. 1124 00:48:10,360 --> 00:48:11,431 Thanks very much. 1125 00:48:11,431 --> 00:48:14,571 >> [APPLAUSE] 1126 00:48:14,571 --> 00:48:16,320 DAVID J. MALAN: Professor Manuelian's team 1127 00:48:16,320 --> 00:48:18,390 kindly brought some of their own headsets in addition to ours. 1128 00:48:18,390 --> 00:48:19,970 If you'd like to come up for any demos do. 1129 00:48:19,970 --> 00:48:21,830 Otherwise, we'll adjourn here and we'll see you on Monday. 1130 00:48:21,830 --> 00:48:22,601 Thank you so much. 1131 00:48:22,601 --> 00:48:26,040 1132 00:48:26,040 --> 00:48:29,165 >> [MUSIC PLAYING] 1133 00:48:29,165 --> 00:52:19,174