 The first thing I'm going to have you do is stand up. Stand up, come on. Use those speediers. Alright, and here's what we're going to start with is I just want you to just, uh, hands up and yawn. Oh, do your left, do your right, because we're not ever going to yawn again. The next thing we're going to do, very important, is get friendly with your neighbor. Uh, so turn to your right left, say hi. I encourage you not to shake hands. I don't want you to slide behind fun. Well, well done. Okay, so now we're going to play a game that we all remember from when we were in China, and that is Lava. Don't touch it and move it. This is good. Let me try. I'll introduce you to I. So, my name is Adam Coffey. I am a member of a company called SEAL. We are a consultancy. We specialize in a handful of things, but the stuff I want to be known for ultimately is an amazing experience. So, my job here today is to do exactly that. Give you guys an amazing experience, and you're going to be the judgement, and I'm perfectly accepting of that. But the best way for you to show me whether or not you're actually out there and ready to engage is I want you to go whoop. So this is entirely meant to be a very interactive experience, right? Now, if you remember, it's like, wait, oh, maybe you don't. But way back in the day, talking four, five, six hundred years ago, any of you remember? Just out of curiosity, you can't. Okay, so, if you remember. So way back in the day, way back in the day, especially like in the theater, the Globe in London, there was, the very center of it was filled with the groundlings, and the groundlings were like very cheap seats, right? But here's what's cool about the cheap seats back then is they were totally interactive, right? It was expected that you react and engage, right? That's the beauty of life theater. If it was anything other than that, then guess what? You have what we now call TV, right? So that's the beauty of this, is this is meant to be engaging and interactive. Fight the urge to dive into that technology for just a moment, okay? And really, just happen to find that's all I'm going to ask. Now again, I'm going to tell you a little bit about myself. This is me. This is my serious face. It's the only time you meet it, and if you ever see my serious face, I don't need it. I'm actually joking, okay? I'm also an actor. I worked professionally for a good amount of years before I was in software, and even during software I found a really, struck a really awesome balance between the two. This is a two-person show I did where now we're 16 characters, and I play 15 of 16 characters, ranging anywhere from the 10-year-old boy to the 10-year-old girl to the grandparents. So very, very, very fun. I'm going to call this as manually. This is when I played Don Lockwood and Singing in the Rain, where literally on the last night, the beauty of life theater literally rained because it was now a theater, right? So when I say, I'm singing in the rain, everybody applauded. It was like this powerfully that I am. And there are a few people in this audience that actually saw this show. This was also in a non-growth theater. I was wearing head and toe, not only makeup, but a full polyester costume, and it was in the middle of the summer. I just about sweat to death, but I'll tell you this, that it's an amazing thing what the energy of an audience will give you. It's an amazing, amazing thing. So this is another reminder that you feed this presentation more than anything else, and I want to make that really clear. Every single one of you. Your level of engagement is critical to life theater. It's absolutely critical. And I'm going to show, remember for a moment here, over here, how what we can divide in the middle as a type of interaction, a type of perspective on software development that is very fulfilling, right? That we get more of ourselves than we could ever get before, right? That's the beauty of what we do. And I'm going to talk about a handful of different things. Okay, sorry for those of you, I am Mary, but I'd like to read. And then I'm also Levin. So in case you're, I just wanted to clear the air. And then last but not least, you can find me on our GitHub and Twitter. I'm a very approachable guy, I hope you know that. So I absolutely love to engage. There's no question you can't ask me. Pretty much just about, I'll answer just about anything. And it's because I absolutely fundamentally believe that if I can help you in some way shape or form, then I've done my job on it. And the last thing I'm going to do is the purpose of this, and this is the goal. Very recently, I decided to kind of create a very abstract, a very simple model of the file. And I would encourage everybody here to do this exact same thing. And my model that I chose was something that I can define for myself but also is very altruistic and is very giving. And I decided to pick this, amplified greatness. Now the reason why I'm telling you about this today and for this purpose is to illustrate one purpose and goal that I have for today. And that is, you are great. You are sitting here because you have something very, very valuable to give. You are great. If you're doing your senior or anything in between, you are great. So my responsibility here in this presentation is one simple thing. Make it a little bit better, right? Help you to find it. So now go through that stuff. Now let's get to the fun things. Because the other side is so boring. All right. Last year anybody see that? Right? So DHH during this keynote last year made this claim that ultimately we're pushing it a little bit, but kind of summarizing the touch. And that is that we each are software writers. And this is something that I think caught a lot of people off guard. Some people were like, yeah, I'm not a software writer. I'm an engineer. I'm just that petty, right? And I think ultimately the reason why, and I got this from just the basic Google Diction area, which is totally accurate, is that if you look through this, if you look through some of the words, ultimately it boils down to just like trade skills, right? Like just things that you do, just simple activities, one plus one equals two, stuff like that. And it was like, it boils down to just kind of the simple stuff. You know, I have 48-step democracy. For those of you who are not familiar with English entirely, this is kind of a convention that's using English language. It's totally accurate. But you know, it's similar to that. It's just like, you know, we're meant to just put dots together, right? And I think that the reason that there was such an emotional reaction to it was because it just, it felt like it just lacked purpose and meaning, right? I was like, you know, I want to do something that really matters, you know? And I came up with this realization, and that is that language is powerful. It's very, very, very powerful. It has a lot of meaning in our lives. The words I use and how I use them for you and you to other people has a lot of influence, right? And so the notion of being just a software writer was just like, you know, that's not true, right? I mean, the reality is that we're talking about something that's very brilliant. I mean, think about this just for a second. I'm talking about a Ruby, right? And what is a Ruby? Ruby is brilliant, right? And so there's something about that really has to help you. That's something that, like, I think speaks to a lot of us, even if we're like, you know, we're meant to, right? And I think that's very, very real. So coming back to the software writers, you know, I wanted to focus here on writers. And I realized, like, you know what? I just wanted to be sexy. I mean, that's all I'm gonna realize. I just want this to be sexy, you know? And so looking back at writer, I noticed that if you kind of expand, you know, there's a cinnamon in there that's cold. And I was like, eh, that's easy. I like that. And I was like, okay, well, what is that? And I looked in here and I was like, oh, poet, that seems simple. And then I noticed this little gem down at the bottom. Special powers of a magical nature expression. I want special mother earthen powers. That's what we're talking about. So I'm like, I am a poet. I'm a poet. Like who has meaning, and I'm a poet. I have special powers of imagination in the jail. I'm not gonna be a poet. I'm not gonna be a poet. This is a beautiful thing. You know, so, you know, the natural question is, how can I be a, you know, a component of magical powers? How can I be this thing? And so it's like, okay, let's start from the beginning. And let's ask ourselves a really kind of core fundamental question. Well, who exemplifies the things I want to be, right? And I was like, well, there's a lot of models out there. And I think that there's a lot of times that we're gonna see, especially during this conference, that we're gonna meet, you know, some celebrities in our trade, right, in our craft, that are really kind of like, they represent who we want to be and that's a beautiful, wonderful thing. And I realized that this knacker, who spent a good amount of time actually having a degree and they don't have a degree in computer science. Yeah, so, but I have like a theater degree. And I was like, you know what, I did a long study of this guy. For those of you who don't know, this is William Shakespeare. And for all those of you who don't know, he wrote a lot of this, okay. Now to put it in perspective, that's a picture of this book, okay, which is approximately 3,500 pages. I don't know exactly what the paper's called, but I call it vital paper because it's the fittest stuff in the world. And he wrote like five, you know, five pages on it. But this sucker is filled with heart. But more importantly, it's filled with expression. And I was like, yeah. I'm gonna be like the Shakespeare guy. I was like, yeah, yeah. What can I find out in there, right? He's got a lot of words. I'm gonna use those words. In fact, he has 800,000. Right, this is a rape test that I'm going ran on Shakespeare's tags. It's plotted this out. Actually, we have to dump it all in the subline because it's strange how that was the biggest wisdom. I might have read it the other way. Anyway, look cool, right? But here's what's really cool about it. When we start to draw, you know, tie this into the text, right? When we try and put meaning and purpose on it is, this is what's beautiful. This is where the movie, the software engineer came to mind is this guy. Shakespeare created 1,700 different word forms. He wrote a code. That's what he wrote. That's what he did. He created a whole new language to speak about the beauty of the world around him and the relationships and the things around us. How beautiful and vibrant and brilliant is that? I was like, yeah, that guy, how many poles, powers? I'm gonna create words like this, right? I'm gonna do this. That's what I do here. That's what I'm writing. That's the truth. That's what I do. So the question becomes, well, okay, you know, let's take a look. Right? Is that a command? Is that a command? The gate control. Okay. Cool. I didn't even see it, so I don't know. Right? So it's like, okay, so let's take a look here. What did Shakespeare do? And ultimately, it boiled down on, I mean, there were many, many things and I would love to talk about it and I realized there's a lot more to this that's gone along merit because of the expression on the side of the letter. You know, let's just start with a couple of things. Right? First, we're gonna start with this domain-specific language. Right? Domain-specific language. Now I know a few of you, I think. Right? I know how this goes. And it's just like, not another DSL, please. Don't do that to me. Right? I mean, nobody actually wants that. But it's a really important concept. I read a handful of books. One of them is Mark Fowler's book on domain-specific language to try to understand a little bit better about what are the values and fundamentals of what that means and how can we apply it? There's a purpose for it. And I was like, OK, well, if this is really true or not more, I don't want any more of that. I was like, OK, OK. Now let's call it something different. And ultimately what I came up with was this, expressive conventions. Right? It's like, yeah. I mean, really, that's what we're talking about, right? I mean, if you think about our spec, for example, describe this to do this, it does this, expect to be done. Right? I mean, we're expressing an intent. We're expressing in a convention. We're expressing things. And ultimately what we're trying to do is we're trying to boil it down to something that's consumable and digestible and understandable. And that's really what it is. It's like convention establishes an expectation, ultimately. That's what it is. We're going to use the English language as a syntax. I mean, think of Ruby and all the programming languages out there. It's like, you can't just write on however you want to and just like, is it OK? I mean, there's syntax errors that we can throw it up. That's what I'd say. Right? I mean, it's like, you can't do that. So there's domains. There's patterns that exist throughout all of the things we do. And so we're going to redefine this a little bit. OK? Now, if we look at the the dictionary definition of explicit, it's kind of funny. And you know, I'm a theater guy. I like this. And it says, it effectively conveys through thoughtful feeling. Now, it's somewhere, right? Or effectively conveying through thoughtful feeling, right? Or feeling out of the, is that really readable? I'm going to cut it briefly. But it was like, OK, now I'm getting somewhere. Like, this is good. Like, this is like, when we're talking about the poetry of what we do, the artisanship, the craftsmanship of what we do, like, ultimately, what we're doing is just taking something of ourselves, something so valuable, something that means something, and we're infusing it into the work we do. And it's my belief that when there's a separation between us two, when you're stifling, and you're no longer allowed to do such a beautiful thing, that's when we begin to hate it. I think that's when, that's when we start to, you know, there's other factors. It's just like, ah, I don't think that anymore. That's horrible. I can't be myself, right? I feel this desire for craftsmanship and this drive to deliver something. But I just can't seem to find that, right? I mean, would you agree? Would you agree? Absolutely, totally. I mean, I would say that if you didn't believe in your craft, unless you're visiting your company and say, you're going to go to a RailsConf and love it or hate it, I don't think you would be here. I mean, am I right? Absolutely. So ultimately, it comes down to this, something that is meaningful, that is demonstrated, that is suggested, and is revealing. So there's an argument here that we can really start to infuse this into the stuff we do. And I fundamentally believe that. Now, let's get back to some conventions that are used. Things that illustrate this sort of stuff. You know, what is that something we can all relate to? Down means away, right? I mean, it's simple. It's an expressive convention, right? Expressing down means away, right? I mean, it's the basic stuff we see in your life. I mean, if it's really that simple, I mean, you can teach a doctor to do it. Right? I mean, isn't it true? Yes. Isn't it? Absolutely. Come on and get it. So here's the beauty of it is that once you establish a pattern, then you have the ability to experiment on that pattern with very little transition, right? So think about it in terms of software development. How to raise your hand if you've ever, like, come on to an existing project where it would be legacy code to you. I mean, look around the room. I don't think anyone's not raising their hand, right? So we've all had this sort of experience where we have to infuse ourself into our work for a moment, right? You see how smooth I am with that? I just want to bring it up. I've been working on this for this time. Thank you. Good night, everyone. Thanks for your time. And so we have this opportunity to really kind of infuse that into ourselves, but we're running into this issue where we have to discover we're going to go through an onboarding phase, right? Or an inception, and ultimately what it tends to be is it tends to be learn our conventions or lack of them, right? That tends to happen, right? So it kind of feels like this happened a little bit, right? And ultimately, I always feel like this when I experience this smoothness. I mean, right? It's just like, isn't the convention totally clear? You're like, yeah, totally. Right? We need to make flush, let it be flush. Like, that's, you have to learn these things, right? It's not like totally clear, but it's there to some extent. So, now I'm going to point this to you. Don't worry. And let's actually talk about the strictures. And the strictures might be, you know, we can convert that into something like a design pattern, let's say. And it's kind of a loose way to think about it. How many of you read pretty regularly? How many of you consider app and readers? Great. Now, here's something that's very common that a lot of people I've heard from app and readers find is that they learn to love and honor. And I think it's a contributing factor of two different things. One of them is they like the stories, but they like the storytelling. Maybe even more so than the story itself. And I think that the storytelling, that aspect of it, even the conveyance of the idea, the way in which that's done, the mechanisms that are used, that's really the patterns we're talking about. I think that you can infuse that same sort of conveyance into our software to think about it like that. It's like, if I have somebody else I'm going to have a, I love training branding people on the Sahama project, love and honor life. And the reason is because I love to find the ways in which they're going to interpret the pattern, the conventions that are being used. I think that's just so cool, right? It's so, so cool. And this is one of the things that's very common for a lot of poets, especially of, you know, four or five hundred years ago. But it is very much used inside of Shakespeare's text. And it's called, and I am in the tenor stands for, well what it is, is an I am is a block, right? And the tenor represents five in a sequence in a meter, right? So it's a writing scheme basically. So if you were to break down something like this, ba-boom, ba-boom, ba-boom, ba-boom, ba-boom, right? And so there's an emphasis on the second syllable is what happens, or at least the second word, right? So let's say, I'll exercise this, we're all very intelligent people. So what we're going to do is we're just going to do, ba-boom, ba-boom, ba-boom, ba-boom, ba-boom. Okay, ready? One, two, three, four. Can you guys impact me? I didn't say it was good at this. So when it breaks it down into an actual line, it looks like this, right? Now here's what's important. The reason why I am the contameter is this, is for kind of two purposes, right? Not many purposes, but I'm going to point out two. One of them is, it actually is very much an alignment of the English language, right? So say a sentence and put the emphasis on the second word, right? So it's like, when I do count the clock that tells the time, it's very alignment with that, whereas other languages follow a very different meter, right? Now, so the reason why this gets used a lot in poetry for that purpose is that there's a degree of relatability that's kind of baked in using the text and into the language. And that's kind of valuable, right? Again, this is the meter. This is the power of the convention that gets utilized. Does that make sense? Right? Yes? Yes! Okay. Now here's the great thing. You remember I was talking about it, is that once you establish a pattern, you have the ability to send messages through that pattern when you violate or alter the pattern. Here's an example. This is from Hamlet, one of the most famous speeches out there, to be or not to be pause. That is the question. Now, here's the message that's actually getting sent because here's actually the breakdown of this and this is why there's a lot of scholars that really study Shakespeare because there's hidden messages that are baked into here that help inform the performers and the directors what the meaning and intention was. Let me explain what that is. If it puts emphasis on be, not in be, there's a pause in there. The emphasis on that, there's a reference back to be, which is to live or not to live. That is the question. And then you've got a diminished state. A diminished is actually, it's an 11-beat, right? It's an 11-beat, which indicates if you break it down in the course of the entire career, not to be honest, the question, whether it has a number of minds, sort of slings and errors, if you break it all the way into that entire speech, you'll find that the diminished tone at the very end is meant to leave the actor in the audience with the sense that he is uncertain. That's the purpose of it. If you read through the text, there's an immense amount of this crazy usage where he'll pull the 10th off and he'll just leave it on the 9th. And it gives a sense of expediency. So there's patterns. This is convention. That's all that's done there. It's bait into the language. These are the messages that we can send. We're not just talking about messages between objects. We're talking about messages between people, humans, and what that means and how that sets us up. And if we break this down and look at the various conventions that are used, we can see this is not already in print. So here's a very simple example. Right? I mean, we've got that. It belongs to return. And it belongs to association. What is it going to return? What's that object? Is it going to be an object? What's it going to be? It's going to be a singular at some point. Right? It's going to return what? It's not exactly the same, but it's a collection. This isn't just basic convention. So when you dive into the framework and you're building with this application there, I mean, you've got conventions that are established for you and all you do is follow them. Right? And by following it, it helps inform you about, yeah, I don't have to look through the source to know how to implement this all the time. It's okay. I can kind of forget and it's sort of all right. And it kind of continues its way across. Right? There's some, you know, some argument against this, but I believe this is, you know, the app-specific choice that's in the app and then the non-specific that's in the lid. And we can kind of see it elsewhere. Right? This sort of convention of where and this DSL that Errol is providing. Right? I mean, there's all the conventions, it's all layered. It's very exciting. Oh, just a minute. Right? Or we look at this example. Right? I mean, again, just for convention. Right? This is all like to communicate that there's a text. Right? What happens in the first example of user create? What does it return and not returns false ratings? Right? Whereas the second one down in the lesson turns what? It raises an exception. Right? Time for that, people. Okay, go and stand up. I'm going to need four. One, two, three, four. Volunteers. One. Two. All right. Before we come up, thank you, E4. If you didn't know this, in Shakespeare's time, all, well, for the most part, all roles were performed by men, even the women's roles. So we're going to embrace this fully and say that all roles can be performed by men or women. You can master it. Stand right up there. Okay. Then you get pantaloons. Yeah. And a vest. Third, you get the green velvet one. And then last but not least, you get a hat. Yes. And a really scarf thing. Next one. These are my actors. Okay. Ladies and gentlemen, gentlemen. I'm the chair. That's a little confusing. Sorry. It was too confusing. Okay. All right. So here's how this is going to work. I'm going to now hand you your sides to performers. Oh, and by the way, I'm going to tell you another cool thing. Let's hope this is a classic. Another cool thing is that, you know, there are printing presses and stuff that would just use widely across the board. So oftentimes what would happen is that they would hand out what are called foul papers. And a foul paper is literally a handwritten document with just one side on it. Right? It was like, imagine, like scribble, scribble, scribble, scribble. Right? So that's not necessarily what these are, because I have old sides on here for your benefit. But at Shakespeare's time, they would only receive one. Now, because of that, and this is part of the challenge of filing all this text paper, was that you would end up with a situation where they just had papers, you know, just everywhere, right? And they were trying to compile them down later and create the actual completed works. Right? So if you didn't know this, there was different, over time there were different versions that were created. And as a result, in certain pages were missing, sometimes whoever was compiling that would make it up. And so there's a lot of times in which they would then find the papers and sort them in the end back into the text. Right? So, that's for you, my sir. You will be Gregory. This is for you, my sir. You will be Samson. This is for you, soon to be sir. You will be Abraham. And this is for you, soon to be sir. You will be Ben-Wolio, at the very end. Okay? All I want you to do is just save your lines. Okay? You're just going to save your lines, but give it attention. Okay? So here's how this works. This is what they did in Shakespeare's time. I did a lot of research on this. Anytime you were going to fight, you can do this. Please don't do that. In Shakespeare's time, you're going to have something to do with it. Oh, you're wrong. Okay? Anytime you made any stoic speech, so anything more than two lines are required to do this. You know, you're like, yes, you're doing it right now. Stoic speech, stoic speech, stoic speech. Okay? And stoic speech is a whole lot of work. We're going to stick to it. Okay? And then anytime you were really pissed, you can start with it. Okay? Pretty good. Simple enough, right? You're now actors. Okay? One more time. Another hand. And now, and the other thing is, they teach us an accent. You talk to the very back of the room. Right? You have to project. Talk to the very back of the room. Doesn't mean yell. He's projecting. Okay? Now you're the ground link. So I want you to react. Can you react to the ground link? So you're going to react to the words that you hear. Yes? Yes. Very good. Okay? Begin, everybody. Too is well, now aren't not fish. If thou hadts, then poor John. Draw thy tool. Yes! I'm watching you, but I'm not supposed to do that. My new weapon is out. Cool. That's a sword, by the way. Thank you, my friend. That's a sword. That's a sword. That's a sword. That's a picture. Yes. Very good. Watch me get the sword. Okay? Fear me not. Let us take the law of our sides. Let them begin. I will frown as I pass by, and let them take it as they list. Oh, that's interesting. Nay, yes they dare. I will bite my thumb at them, which is a disgrace to them, if they dare. Do you bite your thumb at us, sir? Which means, fuck you. I do bite my thumb, sir. Do you bite your thumb at us, sir? No, sir. I do bite my thumb. I do not bite my thumb at you, sir, but I bite my thumb, sir. Coral, sir. Coral, sir. Coral, sir. No, sir. If you dare to do, sir, I am for you. I serve as good a man as you. No, better. Well, sir. Say better. Here comes one of my master's kinsmen. Yes. And your kitchen. Yes, better, sir. Yes, sir. Oh, draw if you give in, Gregory. Remember that I swash and blow. Artfuls, put up your words. You know not what you do. Is that it? Oh, and then there's a symbol, which is swan. Timble says, what are the drawings of these heartless minds? Turn the portfolio, put up my deck. If my sword or many did depart these men with me. What? Draw them? They talk about peace? I hate the word, because I can't even all hell all about to use a D. Have a D, coward. Number one. What we're ultimately talking about is a couple of things. One of them is that there are, of course, patterns and conventions that are used. And a couple of things I want to point out in the text that are really kind of valuable and important are this. The number one is a lot of descriptive language. There's a lot of anticipatory language that exists in there. Things that set the seed, we'll say. Explain the background. Understand the landscape. Then that's like necessarily happening in the background. And I think that the correlation I can draw to is how you define and explain a public-facing method within the method itself. How you explain that underlying sort of hood. What's happening under the hood, because what's happening under the hood is that level of expression, the watch of why this is done. The public interface is giving us that kind of dialogue to occur, but we still have to describe other meanings of that. Oftentimes, I'll see in text that there is a lot that's embedded in that public method itself, which makes it almost as confusing. You're like, I don't fully understand what my options are here. I don't understand how I'm, you know, I don't understand how to use it. I want to send these messages properly, but I can't understand enough. So ultimately, we're trying to do that. The other big message that's in there is a discussion that's happening a lot. It has happened for many years, and there actually is somebody in the room that speaks a lot on this topic. And that is the messaging that happens back and forth between objects. So if we look at this and we're going to break these down, let's just make a very simple DSL. And again, you know, I don't want this to be highly criticized. You may have an opinion on it, and that's a perfect reply. But I just want to show you an example of what I mean. Something like this. Right? So as an example, what's here's what happens oftentimes, is that you have your object that's in play, and you basically take, you allow that object to take control of the reaction of another object. Right? And this kind of becomes problematic because there's a coupling that inevitably occurs at that point. And ultimately, that's what we're speaking to just slightly, is that what we can learn in the form of a play is that the way in which observations and reactions occur is very important for a member. Right? So that in this very simple simple example, we're specifying that when this event occurs, there's a reaction that Samson doesn't control, but he's causing it. Right? And that's kind of an important distinction. I think that's something that we can sort of pinpoint now. Now, as we sort of build in this kind of pattern, you'll notice some of this is happening, especially things like the R-spec and DSL. And you're going to start to see, again, you know, I don't even criticize the example, but I'm just trying to illustrate a point. It's something along this line, right? Where you're starting to think in how to call the expectations, right? Now, we're starting to observe other things and as a result of those observations, we're starting to tie these objects together, but in a way where the objects are not sort of, they're not controlling the reactions of one another, but there's an interface for them to illustrate that one. Right? And so I think this is something that we can really kind of understand in a moment or so. Now, the next point that I want to kind of point out, and the big key lesson here is the harmony. Right? So, this, when we think, if this was an application here, 800,000 words, right? It's not going to align. It's like a million lines of code. It's a lot more than this. Right? When you think about it like this, it's a very daunting thing, right? We look at this and we're like, whoa! When we enter a code base that's like, you know, the git history is humongous and, you know, a terrible repository of many, many bags. Like, we get into this situation where we're like, oh, I can't understand. And I think the important message is that if we break it down to very small interactions and understand the reasons of those interactions, then it's much easier for us to understand the harmony that emerges out of that exam. Right? So, here's what I'm going to do. We're going to do our messages. We need to be very sensitive with the cables. This is a land-based information operation. Okay, so what we're going to do is I'm going to take a stack of grouping of these chairs. I'm going to clear an area right here. Be very conscious of the cables. Do an act. No, no, no. Just clear an area of the chairs just in this section right here. One through twenty. Just come into a group right here. You're not going to do any acting, right? It's okay. Okay? One, two, three, four, five, six, seven, eight, twenty, thirteen, fourteen, something like that. And I want you to form a circle, a big circle. Now the rules of the game, not slice game, but act. Such. You can't hold on. Okay, you can't pass the ball back to the person that passed it to you. And you have to pass it more than one, right? So, I can't do this. You, right? Does that make sense? Simple, simple premise, right? I'm going to add this ball and that's it. Just pass it right. You can't hold on to it. You have to immediately pass it on. You can't pass it back. You can't pass it next to you. Yes? Okay, ready? I'm going to scoot you out to the side. I don't know. And just confirm each other. Just, you know, there we go. Okay? And we're going to start with the big one. We're going to do the same exercise. I'll sit and go step aside. Okay? Another 10. Very good. And step aside. What's the other one I'm going to say? Here is a very good golf ball. Okay? Do not throw that at me. I have 20 people, but that was only, okay, very good. That's three. I want you to roll across the ground to each other. That's it. The three of you. Okay, go ahead and step aside. Are there any blue ones? That's four. Here's this ball. There you go. Remember which ball was passed to you. Okay? Now here's what I want you to do. We're going to try this. And all I want you to do, okay? So we're going to start with this ball here. And I want you to do the exact same exercise. Pass it only to the people that were in your group. Does everybody remember who was in your group? Here we go. Okay, there we go. So here's a way to do this, okay? Only focus on the ball that you are going to be passed or would get passed, right? Which would be passed or would be passed. Do not focus on the other balls. Okay? Make sense? Okay, we're going to see if we can do this. And you can do this slowly. And I saw some of you do this. You don't have to have a pass. Just, just, okay, good. Pass it. Pass it, okay? Let's see if we can do this. Can we have a golf ball? Roll it. If not, find a pass. And so, don't throw it. Okay, ready? And on the count of three, we're doing that. Let's find another pass. All you need to focus on is the ball that you, that you and I are responsible for. That's it. Don't focus on the other balls. Then if you're building your applications, where you have a scenario where you're not, you're not understanding the simplicity that layers together and ultimately creates the termination, then you run into this real big collision of state, right? I think that's ultimately what gets discussed a lot. So if you think about like, what are the very simple lines of communication that are occurring? And building your objects and your software so that you're, they're focused on very simple lines of communication, then the harmony will emerge. Now, here's the thing that happens, and it happens every time this exercise is done, is the balls start getting one another. So what do you do? What is that a representation of? A pass. It's a representation of a pass. So, what happens is you have to adjust, right? So you're going to have collision, and so what do you do now? Adjust. And this is the modification, the iteration that your applications will go through, and that's okay. But focus on the simple lines of communication. Simple lines of communication. And your software's going to be beautiful and can grow to millions and millions of lines of code in harmony. All right, very good. Okay, if you're in the middle, sit on the floor. Okay. All right. It's these couple of things. I believe fundamentally that we all have a great opportunity as artisans, as craftsmen, crafts people, excuse me, that we can create spectacular. What does that mean? Well, I don't entirely know, but I do know it when I see it. So think about it. Like, as a poet of software, a poet of the code, as this being your art form, this being the pen in paper, think about how you want to leave the spectacle on. Right? Maybe you're, maybe the spectacle you want to leave is an error handling. Maybe it's in the actual, like, you know, the public interface where the performance aspect of your security, but create a spectacle, create something that's just awe-inspiring. Right? And I think that's something that's really up to you to decide. Now, of course, in every good talk about the movie, you have to talk about a little bit of it. Right? And this comes from math. And it's often, and I truncated it a little bit, so I'm sorry I'm not sure about that, but it's often people focus on the machines. They think by doing this, the machine will run more effectively. But in fact, we need to focus on humans, on how humans care about doing programming. We are the masters. They are the slaves. How will Shakespeare write Ruby? I don't know exactly, but what I do know is this, that can be created poetry. Create poetry. That's what we're here for. That's what this language is created for. And that's what these were our room for, is poetry. Create something. Be the poet. And, of course, like any good analogy in the tenets become emotional to a movie. And like a page. So ten. We say to ourselves, the book is empty. Right from story. So this is ultimately what you can be left with, is write a great poem. Be the craftsman. Be the poet. Love your art. Everything that I showed you today is going to be on speaker deck. Again, it's a reminder I'm online. That's who I am. I have a company working for Zeal. The last thing that I want to show you is something I'm very proud of, that it's emerged out of the box. So part of our consultancy is that we only work on we're a consultancy, so we only work on a bit of a project four out of five days, like a lot of companies do. And on the fifth day, everybody's left to be totally self-organized. They can create anything they want. And what emerged was something that really warms my heart. And it's this. It's very simple, but it means a lot. And that is that they created this very, very basic app that's set in stellar high fives that other people have heard. I mean, how simple is that? But what it means is it's poetry. This is the art form. This is why I think we do what we do. I don't think so. And so that's what it's all about. This is Zeal. This is who we are. This is the experience we provided. And I hope with nothing else, I am going to find great things today. Thank you guys very much.