Welcome, folks. This is Tom O'Brien at TFNN. We have five days a week. We go seven hours a day. We go 24 hours a day on the internet at TFNN.com. Always remember, folks, whatever you think about, you bring about whatever. You focus on growth. Hope everyone's having a great day, safe day. Let's make it a great night, folks. Always do your best, but don't overdo. When you overdo, you deplete your body and you go against yourself and it'll take longer to accomplish your goals. Make it a rise! Let's take a look at it out here. We have the Dow Industrial's down 341. NASDAQ's off 110. S&P's off 50. Gold contract up $4 traded 18.56 an ounce. You have silver down 11 cents. $22.00, 6 cents an ounce. Light sweet crude up $3.00, 122.43. That baby's going for that 147, folks. That's the high. It's up in the air right now. Well, it's not up in the air. But it's over, there's only one number left. Is that 147? Notes and bonds, the 10-year note, down 10.6, trading $18.03. The third year up a full point at 137. Flatten, $king dollar. King dollar is trading up 227.6. 102.5.40, Euro 107, Yen 134.12, and the British pound 125 to one US dollar. iPhone number's 877. Nine, two, seven, six, six, four, eight. Give us a call, folks. Want to know what's going on in your world. And the world of the S&P's, let's take a look at them. What do you have? Well, let's bring the spy up first.  Bottom line, if we just go from last Friday, last Friday, what you did out here is that you try to get higher, couldn't get higher, close lower. Yesterday, we had a rejection of lower price. We had lighter volume, and guess what, man? This is a mind-blower, folks, that the spy couldn't hit 417 today. We get 415.82. That, to me, that says it all, man. That's the bottom line. What you have here is that you got next to it, you're coming down, so you actually try to get to a higher high, and you're gonna have lighter volume. We have 42 million now. You did 59 yesterday. You'll probably end up with 52, 55 somewhere in there. We look at the NDX100, it's the same type of setup in the NDX. It's pretty amazing that it couldn't get up just a little bit higher. NDX, bottom line, is that you get over the highs of yesterday. The high of yesterday inside the queues was at 310.67. We made it to a 311. We had volume of 44 million, which is light volume, and we're 31 now. So, bottom line, you're not gonna do 11 million in an hour when you've done 30 million all day.  That says that we're getting set up for the CPI, and my take is that this number, the bottom line was gonna get us down to this 280 pretty quick. So, gold. Gold contract out here rejected lower price again. What gold and platinum have been doing is that they've been basically consolidating also, getting down into the bottom of the consolidation, rejected lower price. We rejected it yesterday. Didn't get quite to the low today. Rejected at 1846. You're trading out here at 1855. It's a good setup, man. That's the bottom line. When I say it's a good setup, particularly because you still have the dollar. So, look at this. The dollar is still at a high price. The aspect, however, is that this looks like a nice ABC structure down to me. If it is, you're gonna have an ABC down to this 99 area. Because what we had done is this. You couldn't hold price yesterday. Today, it's barely holding price. The number we have to close over is like 200 ticks higher. It'd be 102, 731. Bottom line, having a high time holding those prices. Notes and bonds, they continue to want lower price, higher yield. What we got in the note and bond market out here is that you got to a lower low yesterday. It rejected lower price yesterday. Now, this is, so when you look at markets and put them together, folks, right? The bond market is really important for all the markets. But when I look at this bond market right now and say that, okay, the 10 year yesterday rejected lower price, it had lighter volume, so that had a chance also to go higher. What ends up happening? That fails as does the S&P as does the NDX100. You put that together and that is showing us just how weak a market that we actually have. That's kind of, you know, when you're looking at the bigger ball, that's how it works. Some of the higher volume equities out here today. And this will be a low volume market.  You get Robinhood off 31 cents. You get ExxonMobil up a buck. DraftKings is up $1.29. One of the big deals out here, this is gonna get really interesting. I suspect, you know, Gensler wants to get this done, but I don't think it's the amount of money that is in Wall Street that get paid for Artiflow, folks. This is gonna be pretty wild. So Gary Gensler, okay, SEC chief, chief regulator, you know, is basically setting up a sweeping change of rules under pending US stock market. And one of the biggest ones that he is setting up for is paid for Artiflow.   The bottom line is that paid for Artiflow is a joke. You know, and it shouldn't be out there. You can just see that the biggest firms in the world basically pay for Artiflow. They pay for every single Artiflow so they can just cross the Artiflow. And we cross the Artiflow, and when you're talking, you know, pennies, dimes, well, they're talking pennies. It adds up to billions of dollars every day. And there's no doubt that that whole system has built some huge companies. Robinhood in particular, Robinhood in particular, bottom line, they will have a problem staying in business if in fact paid for Artiflow goes south, you know.  You get gold up 370, oil's the number, man. Oil's up 3 bucks. Stay right there folks, come right back.


Welcome to in the room where it happens, exploring student intersections with open education beyond the classroom. So today, all of your speakers have various intersections in working with open education and students. Many of us came to open education as students ourselves. Hayley, Tiffany and Graf all became OER advocates from the student government and leadership perspective. In graduate school, I worked on a project dedicated to an OER program. Amber has been active for a number of years, employing student interns to co-develop ancillary materials for the pathways project. Most of us all work with student employees and student advocates for OER and open education from our various roles. This takes the form of both mentoring or providing spaces for students to support OER projects and outreach. It looks different for all of us, but there's a lot of exciting intersections and perspectives from our unique experiences. And that's what we hope you'll hear today as we discuss the questions we have for thinking about OER and open education for students and how they can propel this work forward outside of the classroom. Throughout the presentation will provide an opportunity for you to be engaged as well. We'd love for you to scan the QR code or visit links directly and tell us what you think. Together we can crowdsource and brainstorm ways to involve students outside of the classroom and open education. Thank you for your participation. Our first question is what are some pathways to bring students into working with open education? So I think there's a lot of work that, you know, we as allies to students can do to sort of help first and foremost educate students on this issue, help them know how to navigate the bureaucracy of the institution that they're working in. At least where I'm from here in Canada, the student leadership roles are pretty short and impactful of stuff. So usually student leaders are being pulled in a lot of different directions, especially the last few years with all the disruptions to higher ed. So I think there's a lot of ways we can bring students in, but I think first and foremost just sort of focusing on like, you know, ways to get them seats at the table ways to get them involved in the conversation and help them feel empowered to have that conversation. I think one of the biggest pathways to bring students into this is through other students. If you look at any sort of involvement, if you look at any sort of clubs, anything like that, the way you drum out more involvement, more engagement, really spread this story, really sell how impactful this can be and really get other people to understand that. It's through their peers. So to bring students into the fold and like Kaylee was saying make them feel empowered is to bring them in as creators as well. So not only advocates of we are but and the adoption of we are at universities but also in creating those materials and that their perspectives and viewpoints and creativity brings so much to the fold really make sure to to compensate the students whether that be through an hourly rate. Through credit, because even though we are is free that the work is not free and in order for students to feel empowered and feel valued. I think that that's really important for them to receive the same type of honorarium or recognition that a faculty member would receive if they were doing that type of work. So if you look at students and you get talking about some of these things. That's one part, but finding out about what we are is and then kind of what onus do we quote we as institutions or as we are advocates or whatever your role is have been translating some of this knowledge to students right away. And I know I was four years deep before I had ever heard of what I know you add to that to because it's a really good point Tiffany is in working with students having the patients. When you find that student to have all those conversations and help them find resources and help them understand what the different types of learning materials are. And I really spent some time with that so that they can decide for themselves. How does working with open education transform students and their future. It really impacts how you are interpreting your, your education as you're going through it. You know, like, like Tiffany was saying like, like earlier the better right. I feel like I was able to interact with my educational materials in a different way after coming to this work, which is, which is actually really cool. Something that I would always kind of like repeat is like it when I was in spaces, you know trying to advocate for this is that students really want. We want to own our education we don't want to rent it and oh yard is a really, really good way to do that practice toward leadership and feeling some confidence in their skills and learning how to navigate organizations and really practical on the ground ways that are outside of the classroom like there's so much additional learning, I think that occurs. That isn't always obvious, and or at least that's not the space we come at to think about bringing students into this work. We're thinking about really, how do we help spread that word. How do we advocate, not so much do students even know what we are is like we've talked about but also, how does this inform their future careers. In this project we've been working a lot with this idea of renewable assignments but renewable assignments outside of the classroom and so all the students who are involved with the pathways project they're creating a body of ancillary materials that are available for any language teacher in the US or the world to use. And I think that's a huge confidence builder it's in resume or portfolio builder like Shannon mentioned but it's also really getting. For the first time I think that they're really getting to see the value in their own voice, and that even though they have, you know, a ways to go in their education, even right now they have so much to contribute and so much to share. I think there's two in that of thinking about an information cycle, and understanding a little bit more about how these things work, and really starting to see themselves as creators as authors, alongside anybody else in academia because I think, I think those barriers get put up a lot around higher education and it can seem really scary and intimidating. And I think that's a space that's really valuable. So much to be said for the potential to have representation in your course materials. Obviously there are so many layers to this but like just one that I experienced is, you know, growing up in Canada, sometimes a lot of textbooks are American focus they have American examples. A lot of we are you're able to tailor and adapt and give some more local context that just, you know, it's a small thing but it's really powerful and sort of helping you feel represented in the material students, you know, international students are helping to contribute to the activities and it's been so rich for them to be able to share their own perspective and share parts of their culture that you know, why should we work with students as peers in open education. And how can we value that role. I'll consider myself pretty early career coming out of student government and now working in this whole time. And like, even as somebody who, you know, wrapped up before the pandemic like I feel so sort of like out of touch, sometimes with what's happening on the ground, you know, like I think with just sort of like the way that learning is has changed over the past few years and continues to adapt like we really, you know, even somebody like me who's who's sort of fresh in the space like I really, you know, don't have the context that an on the ground student would think that students are experts in their own lived experience I think the students are not a monolith I think that you know what many years we may have considered like a traditional undergrad student or a traditional graduate students has really shifted into that there is no normal demographic for what a student is or can be. And so I think you know none of us should, you know, feel like we really can speak on behalf of students as a whole because it's just impossible to have you know all of that lived experience. You know, how do we get student role and then into some academic space ish, and, and then it came to the question of, well how do we get other students in here and how do we get them to have this experience and you know how do we get them opportunities that can help them now and in the future how do you bring students into conferences and talks and how do you get them set up for whatever they want to do next and what responsibility do we have as people who have this knowledge and experience and you know ability to kind of bring students in and as peers and as mentors to us and as us mentoring them and vice like the full kind of realm of being able to share knowledge and opportunity to bring COVID we're all non trust non traditional students. Right. Something that was really a big passion for me and why I got involved in student government is because I wanted to really try to bring students back to their educational experience they are really going to challenge the institutions they're, you know they are going to be as comfortable as other people will they're they're really going to bring creativity, they're going to bring, you know, lived experience they're going to bring different experiences. They'll really want to embed their identity into into their education. And really I think that benefits both the student and you know, you know your institution. I've seen that really transform the work for me that space where we don't really know from the other side, what is working in our systems and everywhere I've worked in open education, it is the students that either come to me and say, I know that the opt out for x, y and z isn't actually working we're not told soon enough, we can't drop out of that inclusive access purchase when we want to, we get charged to us anyway, or, you know, hey, maybe that's not the best way to put something in the system for students to search for classes, because they're not, that's not going to make any sense to them if you call it that. There really is so much we can do to lift up students who are doing this work and help them be recognized and, you know, celebrated for that work. It's not easy to have a full course load and also be trying to change the world at the same time so so props to them, you're able to give payment to students like literally paying them for the work that they do that's so important. It's not, you know, we don't want to be building this culture of unpaid labor for us if we're a student or somebody who observed like a student advocating for this on a committee, you know, can we be writing them a recommendation letter can we be, you know, offering to supervise them to do like a we are a research project that they're getting for like what are these creative ways that we can, you know, be volunteering our our time and our resources to help students actually within the role itself as well. And that's really in valuing them as appear and making sure that their voice and their input can be as valued as as other people on say a committee or on a team for mentorship. I have Shannon helped me a lot with getting me up to speed on a lot of these things getting getting me up to speed on where to find resources, you know, just just spending some time to talk to me. After a meeting and make sure I understood all the things that were discussed and had the context to come back to the next meeting with even more, you know, questions with more input. So that's does a wonder students the chance to really have that that's the important to think about mentorship going both directions. It's, it's not just us as the workers and open education mentoring students and making these valuable spaces for them. It's the students mentoring us as well and in helping us know what's meaningful to them as we have these conversations about how we value the role. If, if graph hadn't been willing to share what helped him and what mattered for him, I wouldn't have that feedback to carry forward with the next student. Maybe that will look different for that student and that's okay but I think to even be aware of that reciprocal conversation that that we are peers and we're all learning all the time example I can give is that our pre service teachers are involved in creating OER and then when they have their, their student teaching year, they're able to go in and teach their mentor teachers so much about OER many of our in service teachers haven't ever heard of OER. And so it's really cool because of the tables are turned so to speak, they're able to teach their mentor teacher something and then what's really fun is that then once the mentor teacher is aware of how we are works they can start to ask some of the tough questions like how would we how should we revise this or remix this for our classroom to localize it for our students and so it's really cool to see that relationship more just so many topics that we, I don't even think we realize that we are helping each other learn about that we can then kind of spread the word modeling for each other rate. I was really fortunate to have great mentors when I came into open education. And so there's, there's also that paying it forward to me. And that that's part of that domino effect, wherever the students go and how their careers transform in the future, because we are helping teach and spread that we are peers together as a student leader. I didn't have that mentor kind of in the open ed realm at that point is without without having some form of mentorship. And I feel that they have the agency that something like open education can bring because it's a long road to nowhere when you're by yourself to it's often because I've run into this with students where they often aren't, you know, it's scary to say the thing you don't have or the thing you need. You didn't even realize, oh, I can ask for that and so making the space to touch in, especially in the virtual world that was extra challenging. How can we build a sustainable system when working with students and open, particularly in light of graduating students did really significant transition periods. So the person who is coming in after me and I sat down and I said, look, here's what I did this year. Here's what didn't work. Here's what could work. Let's have a chat about it. We had the ability to sit down and talk about transition and plan something out. That's definitely not the case all of the time. And, but I think kind of one of the an easier, easier way to mitigate that. And when you're working with students have them do accident review to understand, not just who's coming next but you need to understand where people are right now. You need to understand what your institution looks like, like where we are that sort of work is being done. You know what's coming next. Knowing what's coming next in a longer term can also set you up for better sustainability, even though you only have students for a short amount of time. You can have multiple students working on parts of a long term project. I think one of the really great things about OER is that it does have that flexibility to be able to adapt to some of the system. So, and although a lot of students are playing a short term game, usually just finishing their degrees. You can play really long term games with your OER plans and what you want to do and have a lot of students be impacted by your project and have a lot of students impact your project. It's really important to create opportunities early on. And give the students the opportunity to be involved in a year or longer project are, you know, just getting started with the project and learning how it works to becoming leaders. If they're involved in a long term project. And I also was going to say to the students who are maybe outside of the box of what you would traditionally think so it you know if you're creating math OER for example it might make them feel like oh we're going to just have like lots of math students be the content contributors but there are students from English, from graphic design, from philosophy, from all different disciplines on campus who have meaningful perspectives and things that they can bring to the table and enhance. I was really able to help me think about because we were writing an institutional plan for affordable learning here at Boise State. We're ways that we could write student partnerships into the plan. And so really because of that connection university committee yet. We're the plan and so that that role and that those places are valued as we move forward. So that kind of forces that back up to the institutional level. It's not me saying it was the whole task force the whole group and and thinking in those ways as well and then graph is talking about laterally. I think the time that I was able to dedicate to speaking to students in it or being in the room when they're having conversations allowed me to meet other players. Others is like a lot of really fantastic stuff. I think, I think it all comes back to culture when you're trying to like build sustainability on campus like you what you ultimately are trying to do is build a culture around open. Thank you so much for joining us today. We'll take the remaining time to answer any questions we have in chat, but you're always welcome to reach out to any of us if you have follow up.


Ever since the 1920s, doctors have been injecting arthritis patients with gold. Evidently, gold-based medicines have been in use for thousands of years, and remarkably are still in clinical use as so-called disease-modifying anti-rheumatic drugs, meaning they can slow the progression of rheumatoid arthritis. Unfortunately, such drugs can be toxic, even fatal, causing conditions such as gold lung, a gold-induced lung disease. Although its use can be limited by the incidence of serious toxicity, injectable gold has been shown to be beneficial. But maybe, some researchers suspected, some of that benefit is the sesame oil that's injected, which is used as a liquid carrier for the gold. Sesame seeds contain anti-inflammatory compounds, with names like sesame and sesameol, which researchers suspect may serve as a potential treatment for various inflammatory diseases, but these were in vitro studies. First, we have to see if it has an anti-inflammatory effect in people, not just cells in a petri dish. But there hasn't been any studies on the effects of sesame seeds on inflammatory markers in people with arthritis, for example, until now. Considering the high prevalence of osteoarthritis, and since until now there hasn't been any human studies to evaluate the effects of sesame on osteoarthritis patients, this study was designed to assess the effect of administration of sesame seeds on inflammation. And they found a significant drop in inflammatory markers, but what effect did it have on their actual disease? 50 patients without osteoarthritis of the knee were split into two groups, standard treatment or standard treatment plus about a quarter cup of sesame seeds a day for two months. Before they started, they described their pain as about 9 out of 10, where zero is no pain and 10 is the maximum pain tolerable. After two months, the control group felt a little better, pain down to 7, but the sesame group dropped down to 3.5, significantly lower than the control group. The researchers conclude that sesame appeared to have a positive effect in proving clinical signs and symptoms in patients with knee osteoarthritis, but the main problem with this study is that the control group wasn't given a placebo. It's hard to come up with a kind of fake sesame seed, but without a placebo they basically compared doing nothing to doing something, and any time your patients do something special, you can't discount the placebo effect. But what are the downsides? I mean, that's the nice thing about using food as medicine. Only good side effects. Though the results are mixed, there have been studies using placebo controls that found that adding sesame seeds to one's diet may improve our cholesterol and antioxidant status, and the amount of the sesame found in as little as one tablespoon of sesame seeds can modestly lower blood pressure a few points within a month. Enough, perhaps, to lower fatal stroke and heart attack risk by about 5%, potentially saving thousands of lives.


I'm going to do it for my shin wizard because just watching the amount of wrestling I watch, seeing the guys, my guys, other guys that we compete against, this shin wizard is 90% lock it down stalemate. There's no I'm going to shin wizard and use this to an advantage to score a takedown, okay? That's a bad mentality to have. Now sometimes I get it, there might be that small percentage of the time where I do need to just hang on for a stalemate and get a fresh start, that shouldn't be the norm by any stretch. So what we're going to do is we're going to start down on the mat in a shin wizard and we'll talk about the mouse trap and stuff like that tomorrow, but what I want to talk about today is a shin wizard and why it works and how it should work and what this guy's reaction is going to be when I do get this shin wizard. Now when we end up in a shin wizard, it's usually because this guy's running the corner.  So when he gets to the corner, he's got shoulder pressure and it's here. I've got a shin wizard to stop him from circling and covering my legs, so that's where this defense comes from. I reach down in between my body and his, I grab my sock. Now what's problematic about where his hands are at right now, above my knee, free hand, stuff the grip. Now, this is where we've got to make sure we're all on the same page with our shin wizard. Outside foot up, turn my knee away.   I should be able to trap his head to the mat right here. This isn't a shin wizard. I got no pressure here. He'll be able to win that every time. Now, what these guys will do when we lock this shin wizard down is a lot of times they'll change knees and shelf my leg to his inside thigh. Here. Everybody see what he did? Do it again. Go back down. Turn, turn, turn, turn. So I got a shin wizard. I've got him locked out. He's going to bring his right knee to his left knee, then he's going to step his left knee up and pull my shin up on top of his thigh. All right? Now, when he does this, takes my shin wizard out of the equation. What we're going to do when he gets to this position is we're going to let go of our shin wizard. I'm going to take my shin wizard hand and swim it all the way across my body. See how I turn my belt buckle away, turn my inside hip down. And at this point, I'm driving off the instep of my foot and I'm ripping my foot up under my chest.  But again, this skill is something that, yeah, it's not going to score us a take down, but it can save us a big, big, big take down sequence if this guy's really running the corner on me. Okay? So single leg. I'm cranking my shin wizard here. He goes inside shelf, right in this position. Shin wizard hand comes out. Watch how I rotate my body. This foot, I'm just rotating my instep down. Watch my left foot. As I swim over instep, watch how far my chest moves. Right here. Okay? Chest didn't move. And then I'm turning and facing. Now, we'll pass a leg from here. We'll do our mouth strap from here. We'll do some other stuff from this position. But right now, all we're doing is getting kick out reps in, all right? So it might be something. He shoots a single leg. I'm battling in here. I raise self-cover. He starts beating me to the corner. Shin wizard. I beat the grip. I start beating him here. He goes inside shelf. And then I kick out the turn. Okay? I'm back on my feet. I'm ready to dance. All right? Now, we're not in a vaiden. We're not running away. We're just adjusting the position. He's starting to steadily beat my position. I've got to get a fresh start and get back to my feet. Like I said, that position won Bessie Kadukov a freaking world title just because he had that skill set of getting his leg skinny and slippery and getting it back so he could be in control. Questions? So again, on that shelf, I'm on the single, outside knee, comes inside knee, post. Pull the leg up to that inside shelf. That's when we start turning and kicking out. Play there. Go. Let's get it.


Right in this video. I'm going to show you how to edit your go Google business profile So what you want to do is you want to go to Google comm by going up here to that address bar and typing in Google comm So Google comm hit enter and then You're gonna go up here to the upper right hand corner and it may say sign in and if it says sign in you want to sign in with the The email address that you use to set up your Google business Profile, okay, and if it has a circle with your picture logo or an initial You just hover your mouse over it and again There's gonna pop up what emote is and they'll just double-check and make sure that that's the email that you set up your Google business profile Next you want to type in my business in the search area and then hit enter From there you want to find this little section that says you manage this business profile and then right here It'll say view profile now You may have to scroll down that page a little bit to find it But just look for that little view profile button from here You'll have a row of options or you know two or three rows of options. You may have some some tiles down here carousel that you may need to have attention to and So right here you click on edit profile And from here you can edit your business name Just be aware if you edit your business name they may have you Verify your Google business profile and it may be a different verification Then you did when you first set it up, but just to be aware of that You know business categories You just click on these little pencil icons whenever you hover over it So anytime you hover over to have like a little edit thing that pops up your description opening date phone number website all this so you kind of just look through here and see what to edit and You could add photos edit services edit products add updates ask for reviews. This is where you get your review Link right here. You could copy that review link and that's how you can edit your Google business profile


OK, so this is a problem we just made up. It's solved for t, right? So yeah, let's do it together, right? So to solve for t, that means that everything except for t has to be on one side of the equation, of course, OK? So we can do it stepwise, or we can just isolate t altogether. So let's do it both ways, OK? So what was the first step, did we say? Divide both sides by 206, yeah. So when we do that, what happens to this side over here? It's not t3, it's called t cubed, right? So t cubed equals 12.7 times 10 to the 14, 6.7 times 10. OK, so how do I get rid of a cube? Oh, it's going to be, so here we'll take the cube root of that, right, and also take the cube root of that. So when we do that, the cube root is the inverse of q. So that's going to give us t over here. And over here, it's going to do just what it says, right? 6.1, 7 times 10 to the 12 cube root. OK, so how do I do this on my calculator? That's the real question, right?  Cube root is actually to the 1 third, yeah. So what you'll do is take this and raise it all to the 1 third. And so I have that number in my calculator. You just do the little carrot sign. And then I put parentheses around 1 divided by 3. And I get this number. So this number here has three sig figs. This one has three sig figs. So our answer is going to have three sig figs. So 1.10 has hit a wrong button or something like that. But it makes sense, right? Yeah. It makes sense, OK, cool. So I guess in your, well, I hate to give it away, you know, but I'm sure you realize what to do in that problem. Oh, yeah, I know. I just, I must have put it wrong. OK, sure. Any other questions on this one?


Hello, everyone. It's very nice to be here again today. We're talking about moving to standards in Spain First of all who I am. I'm Antonio Bertán, city of Tresipón. You can find us in our both And also as you can see here, I'm European LTE co-chair and here are my details But first of all who is who in that project because it's an amazing and a challenge that we have to Resolve and I will present us first of all Tresipón As you you know, we are a model premium partners. You can find there and They can explain better than me what we do, what we are good on And everything Then what is a do-the-cluster? The project that there is also a do-the-cluster. It's a cluster mainly is Cluster of companies a number of companies an organization that meets together to do something better And to improve in that case the learning of our students and teachers and we create several things and in that case I will show you how we are Facing that challenge that we have in that project then Who is when I take? If anybody from the past you know what is IMS global probably, you know from LTI LTI you you can find in external tools when you add any tool or activity Right now the name is what I take what I take is an organization that creates a standard and that the standard tries to cover and improve the integration between platforms As you may know QTI one roster LTI a lot of the standards that create Why the I want to take community? It's a not-perfect construction Owned by and by members. This is very important We are part of a community and all the community explain their problems and There is a group of experts that help us to find the solution and also listen to us and There as I said is a transfer-relevant responsible represent all the stakeholders and currently covers 28 countries around 900 members organization and has a global impact But let's talk about our project our project is to move to a standard in Spain Why we we facing that challenge in? 2022 we met here also in Barcelona with people from one attack also from people from the cluster And we are was thinking what happened We are using something that always especially from Spain that I will take a little bit right now And we want to change everything because it's not possible to use something that Anybody has used less Spain probably South America as well because the publishers send all their content also to South America and then as a country we want to transform the situation the other cluster in Spain and Go and try to use international hyperactive protocols such and that case LTI But let's go to the past and 2009 here in Catalonia and And there is a project that named it look at one per one and They try to take off all the books and start to go all digital Everything seems okay, but the publisher has a main concern the main concern is how we can cover or avoid the problems of copies or access from users that knows how to rise to that content Then to solve that Has been created a new a standard. I put like a standard in Spain First begin and bus and in Catalonia and go to Spain because the publishers has to connect through Standard name marshal Pial Then each publisher are happy with that because they can control who are actions Accessing our content in that case books And each school has to manage the keys to access for each student has to give their keys Mainly as you can see here on the right It's a standard activity that you can select which is the level so reason for Catalan which is the book Which is the unit and activity? This is when you think about strange because probably LTI can help on that marshal Pial Allowed to the fine which are the publishers that has been allowed to that school also define the text structure Between levels unit is unit gen activities allows SSO and return grades Are using XML as a format? We are in the past then around more or less the same year in 2010 Dr. Jack severance Started basic LTI we were with open University of Catalonia and He came to open University of Catalonia and show how or what are the things are doing and at that moment We show it also that we integrate model and Sakai in that moment with external tools like WordPress and LTI and Media wiki using or another extender name it oki oki. I use it And he said well, I can't afford that on LTI Next morning he come back and he showed me this is the integration I think it's in WordPress or media wiki I did that integration based on my code and I think oh, yeah We can do it also in WordPress and we did the same for WordPress in the same day in the next day, okay? then as you can see mainly use The features that marsupial give us is the same that LTI, but we are still in the past Then we have LTI as a plugin that supports LTI one one and LTI one three and LTI certified as You may know when I take Allows to certify the products and if you have anything certified You have the guarantee that that product works for One MS and LMS or work with all the tools that has been certified in the same In the same standard And then we are focused on LTI one three because LTI one one was deprecated But I know there is a lot of content still on LTI one one, but has to be mutated step-by-step and they are working on that and Then we focus on LTI one three The main features that covers the LTI advantage are the the core They mainly the authentication and the access to the content deep linking that allows to select Which is the content that I want to add to my course as you can see before we have some selectors on Marsupial you can do it the same using that service As I'm in great services. I can get all the roster of my course. I Sorry, I can return the grades and also there is some services related with that names are all service Allows to get the roster of the course which are the students on the teachers and also dynamic registration allows to integrate easily the in the registration of LTI or any tool because You have to share several URLs where is the public key so on and with enemy registration. It's like Wizard assistant that help you to do it everything with one click if we put here the difference mainly When started marsupial set the front got on it to the wall. It's not the GDPR and has an old technology LTI is a standard Is GDPR complying with an extension that also we are looking for to implement in model? The name is that that the privacy launch that allows to get the information from a tool that has support that extension Secure evolve as you may know, we are in one three and right now are working on several extension that that public its final candidate mainly has to be implemented into tools and two applications to has to be open and finish all of them and Probably hasn't need any development and you can change from one provider to another provider without any problem Here we have more in detail each one, but I want to focus on the license Because currently doesn't support that service the license management and Is something that our publisher are concerned about it? then with that Steps in mind we have to follow or fly find which is the solution We create a consortium in a tech cluster Then in well construction we want to create a new extension and name it as an entertainment service that allows to create the manage the licenses We are working on a tool to convert the content from marsupial to LTI convert Okay, here. We will have some screenshot that we are working right now For each publisher we can see which is the content that is has been converted to LTI will There is like an assistant that or wizard and help you to do all the steps to go for all LTI information Also, also we are work we will working on worships to help people to understand What is LTI one three and adopt that? Integration to all the publishers that are in our construction plus anybody we want to join us This is will be done during the next year We are planning to integrate the extension with one attack we share in the past but right now we are reviewing and also working with Some people from when I take an LTI group And regarding project funding because everything we have to pay that we have our funds from our private company plus public funding and Regarding the methodology we are using the typical use cases with some more packages We start to work with the use cases to license management here we get 31 licenses. This is Spanish I'm sorry for that the Google and cloud room and Microsoft teams This is another world group that are working on that to try to push them to use all to use always as LTI I know Microsoft teams are aligned, but cool club room are not aligned to LTI You can't launch directly what a content like an external tool like we are doing in mobile But we try to push from one attack here to Google and Microsoft This is another group where they are working on that But we are focused on the license management, but for the reason we create a new extension This is the first mainly approach There when when the user register or when you register a content in that content in the deep linking flow We will return which is the URL of the entire time in a store and then when this entire time in a store will be an LTI I want three that has to be passed before Okay, and also deep linking service if you don't know this is very It's I think it's impressive because allows to sync the content From the tool to the MS for instance the typical thing I delete a content in my tool External tool, but the link is still it's a life in Mobile because pointing to the tool that service allows that isn't final candidate. I think so and To manage the licenses we are planning we can do it with blockchain Could be interesting, but this is one of the stores that we can have it. I think I run it out of time And there's any question. I think I don't have time But I have to say thank you to the cluster on my team


How's it going everyone, it's been drizzling on and off here, which means it's a sunny day in England mate, and it's about 5.45 in the morning, which is early, but you know what it's never too early for, co-trivie to hit it's how it bends, boing!


So, Gearbox have just dropped details on the May 14th hotfix, today we check out what's changing, what's being added and a few other things. How's it going guys, my name's DP Jente, today I bring you another BR3 video. If you do enjoy it, leaving a like really helps out and subscribe if you do want to see more. Also guys, before we go any further, for all your gaming needs, no matter the platform you play on, at amazing prices, with amazing weekly deals, check out G2A linked within the video description. So today's hotfix addresses a few things, changes the loot pool and the way it works in the Mallow and Raid, adds a legendary into the loot pool which we will check out in a few of the bits, but let's get straight into it people. Today we will release a hotfix for Borderland 3 which will be live on our platforms by 12pm PST. In this week's hotfixes, Loot the Universe starts on Necrotafio and we address some community concerns. As usual people will be able to apply hotfixes where at the main menu until you see that sign that appears and says, hotfixes are polite. Ok so the Loot the Universe mini event is taking place on Necrotafio this week when these hotfixes are live. And this will last until May 21st, 9am P.T. Activate the Loot the Universe event on Necrotafio until 9am P.T. on May 21st, address a report of concern where mayhem would occasionally nile ward cash, iridium or XP after death. Address a report of concern that their legendary weapon storm and firestorm were sometimes not spawn in their elemental orbs when fired. Activate the Inacure Anointed Gunner texture and weapons with the non-character specific elemental critical hit anointments. Added the mongol to Fonkin Sloth's item pool and increased its damage. This is a weapon that's been in the files and I covered about 3 or 4 weeks ago where someone had actually retrieved it from the files because it wasn't dropping in-game and we spoke a little bit about this. They've now added it into Fonkin Sloth's loot pool so that's pretty cool. So we'll go and get these people and we'll go farming and bring you guys over you on it later today. Added the Dedicated Loot Pools for Takedan and the Manoran Black Scythe's bus and minibus Walton and the Valkyrie Squad. Increased the chance for more than one Legend O2 drop from the Dedicated Loot Pools of the bus and minibus in the Takedan and the Manoran Black Scythe. We fined out Walton's Dedicated Loot Pool with today's Huffix as a result Valkyrie Squad now drops the Takedan and the Manoran Black Scythe shields exclusively from their Dedicated Loot Pool while Walton drops the Takedan and the Manoran Black Scythe weapons from its Dedicated Loot Pool exclusively. This does not affect world drops from these enemies. Paired with their change to allow more than a single Legend O2 possibly drop at one time, players should have an easier and more consistent farming experience in this content. What we don't see here people's word unmayhem 2.0 and the seemingly appalling loot drops that a lot of people are experiencing. Well some decent changes for sure, I mean I was farming the Manoran Black Scythe and loot seemed appalling there, glad to see that's been thinned down now and we have a better chance of getting more than one Legend O2, that's pretty cool. And also the inclusion of the Mongol which should be pretty epic too. We will get that, we will go farm that and I'll bring you a video on it later today. So guys that's today's hotfix May 14th, not a massive one but definitely some changes to think about. On that note we have come to the end of the video, if you guys enjoyed it leaving a like really helps out, if you're new and you want to see more Boilers be sure to subscribe and if you never want to miss a video upload you can turn notifications on by hitting that bell button. But guys thanks as always for stopping by, hopefully you enjoyed the video and hopefully I will see you on that next one.


Nice to see you today here. Our next speaker is Tammy Lister. Tammy Lister currently works at INPSIDE as a developer focusing on WordPress. She has a hybrid background across product, design, psychology, and development. Currently, she contributes to WordPress as part of her role. She's passionate about open source community and drinking tea. The talk that Tammy will have today is exploring the power of generative styling. Editorial styling has made significant progress since Snowfall, which inspired Gutenberg. With the evolutions, you can automatically generate styles considering content, mood, or data input. As a result, it has become more sophisticated and accessible, truly generative. We'll review the past looking at generative art and upcoming AI technology, and then explore current tool availability. Discover the need for intent. Understand what happens beyond simple prompt-based styling and explore the true power of generative styling. Tammy, thank you very much. The floor is yours. Thank you. And first of all, I'd like to thank everybody that helped me get the slides up, in particular Bernard, who is basically how we've got our slides working today. It was a group effort. So, as said, I currently work at Inside and I am a core contributor. So, this is Snowfall. This was an inspiration at the start of Gutenberg and what was looked at to connect, to aim to be possible, to create. In many respects, we've got there. In some, though, we are now starting to see how we can move from building this block by block into a space where, simply by adding content, the style is generated around us. The blocks are created, laid to our content, no flaws around our words. But where did this all begin? What are the roots with things like generative and where are we going today? Can we even create a generative Snowfall today? And how far off would that be if we can't do that? So, for those of you that don't know, or those of you that do know, this is the game of life, simply known as life. And it's a cellular automation. It's devised by someone called John Horton Conway in 1970. It's a zero player game and the earliest versions of this didn't actually have computers. Which is kind of quite fascinating. Many generative forms are seen from coming from this with algorithms. And it's always a really good point, I think, when we're starting to think about this. But as I hope to share, it's really not the starting point we probably should be thinking about. The rules can be set to anything, but typically, as with most generative things, they need rules. But what are the rules in editorial content and how are these going to be shaped? How do we start to discuss these? How are we having those conversations now? That's something I want to start those discussions as well. So this quote for me, for Marius, really is fairly key in thinking about generative art. It's a simple definition of creating a system. It could be quite wide if you start to take it meaningfully. And often in the origins of generative art, it is indeed much wider than you would actually start to think about. Some of the earliest known generative art is plotter. That's kind of what most people think when they start thinking about that plotter algorithmic art. Although as I'm going to share, the concept of generative art really goes much, much earlier than that and predates digital. This from Wikipedia goes a bit further highlighting this concept of autonomy. Although there is, of course, a fine line between that and that domino of things called prompts, which we all know is kind of a standard word now, into most generated systems. So a truly generative system should perhaps be truly autonomous, but then is that generative? It's kind of quite mind-bending when you start thinking about that. What would that look like for the future even? Are we entering into the space of totally generated content and styling? In this talk, the terms and, in fact, many quotes of generative AI is going to be used, but before I go too far there, I want to offer just some ideas of some definitions. Probably everybody's going to have a different definition of these terms. This uses machine language to generate. This is often the AI of content as shown here. It learns by supervised learning. AI, machine learning. I use the term generative styling in my title, and I will also use that in this talk because this encompasses, for me, everything, from recommending colors through to creating colors, maybe based on photographs, and it goes that step beyond that generative AI and really into that styling point. At the foundation of all those terms, for me personally, is something incredibly personal, which is generative art. Because it's that foundation, I want to share some background before moving on and talking about how within technology and maybe the work that we're doing within WordPress and within editing, and we can start to use that. And there's a whole history to discover, gain, and form insights. It's also not just visual art, and I wanted to share that because code is poetry. Many have explored generative text, not just visual art or styling, and this is something key to note when we start to think about this, that poetry can also be generative. So if we start to think about different types of content, we need to start not just thinking about images when we do this. But before I move on to look a little bit, I wanted to just set some terms down, and that was AI and machine learning. These often get fused together and really fuzzy when people are trying to determine them. Everyone has an opinion on what these mean, but AI is more or less the process, and machine learning is more or less the subfield. That's the rough way to look at it and really distilling it down here. It's really key to differentiate between them, and I think that this is probably about the best we're going to get for today anyway. So I can't include every example because there's going to be a boundless timeline. I am going to be sharing a resource, which if you want to dive into the history of genitive art, and I would encourage you to, just to learn that foundation, you can start doing that. There is a resource that I'll start to catalog it, decode by decade. I think they've got up to the 80s, and it's really interesting to go back forwards and start to see that as well. But I thought it was really important to go as far back as they have into the deep history, and they start here. This goes quite far back when we start to think about generative, we start to kind of use all those modern terms, and it goes back to cave drawings and I Ching. That is the first form of binary, if you think about it as well, up to Gottfried's computational thinking in the 1600s, and into the first permanent photograph, which was in 1826. So it feels quite far away, but it's quite recent if you think about some of these dates. And this is the resources down here, I am going to have a link to share at the end. I highly recommend understanding these routes because you start to understand the perspective, and you start to understand how far we've come, and when we're talking about all these terms, how new we are in still exploring some of this stuff. So a lot of this fuels some of those artists that really were taking that work, and Vera Moeller is someone that I'm going to be sharing in a minute, and she was definitely fueled by this. As we move forward, Grace Hopper discovers programming and AI is coined. Kind of not that. It feels further away than we maybe think.  And then we have Norm Chomsky, which generally a lot of the language we use today comes from the work that was done there. It's worth calling these out because it's our roots. It's our language and our art and our foundation in what we are building and we're using today. We just sometimes don't know that when we're using them. If we look at those dates again, it feels not too far. Genetic art itself has actually got roots in data and surrealism. It's kind of interesting when you think about that. And it has actually come from a designer's experimenting with analog devices, not even computers and mechanical systems. This is the early art history of it, and someone again, I'm going to refer to her, Mira Muna, she actually had classical art training and she was committed to research in these fine, infinite variations of geometric shapes and lines. And she saw herself actually as the drawing machine before there was a time to be able to do drawing machines. I love this quote where she just literally says she has no regrets. My life is squares, triangles and lines. I think it's kind of pretty amazing. And she's still been creating it. And then she learned FORTRAN and BASIC to then be able to do it within computers, which I think is pretty awesome. Beyond her work, others grew from Manfred Muher to Howard Coyne, who was the designer of something called Aaron, which was meant to make art independently. And it did, and it didn't. These were the seeds. And from today's genitive theme grew flash art, glitch art, all the fun things that we like to think were quite new and they really weren't new. And early web apps and into NFTs and beyond and whatever you feel about them, they all have their roots and they all have their part to play. The language of machine art became more commonplace and accepted. And as it did, we always thought we had found something new, but we probably hadn't. Before we look at though the state of things today, I really wanted to share some of that work of a few people that I think is key who are practicing today in thinking about genitive styling, in particular how we maybe would implement it with editorial work. And, because all of this is great, but how does that then apply to what we may be gonna create on a enterprise site or how we're gonna kind of implement it? I've looked at that past, but how do we take it? So the work of Jaya Taubo, beyond being one, an inspiration from my work, he kind of has this generation of things like iconography. And if you think about some of the visuals that we want to create, it's really inspiring to think about someone having endless inspiration. So this is from a language which was in a game, which was the journey. But if we think about things that we could maybe have generation to, and again, like most of these artists, the source code is shared and something akin to our community in particular is sharing source codes. So you can go to these links, you can get it, you can kind of iterate on it. And that's something really cool about a lot of these pieces. These, this artist really is kind of combining both static and non-static background pieces. They are based on natural forms, but in natural is the best way to describe them. And it kind of starts you to think about generated backgrounds and how these backgrounds could respond to the foreground as well. So Vicky shows the impact of technology on the process of painting. So what she does is she has an ongoing series called the soft body dynamics. And it's created using 3D software that just generates and generates and generates and generates. And then she picks one of those generations and then she uses using oil on linen. She actually creates a physical piece from that. So that kind of hybrid is something that probably is going to apply to a lot of work that starts to happen as AI kind of works but maybe it doesn't work and then we need to adjust and iterate as well. So she's using it as that source of inspiration to then take into the work as well. And then Katrina also uses algorithmic art going back to those kind of roots a little bit which I think is really interesting again, sharing the link. All of these possibilities, if you think of content that you maybe want to put your starter content on your site or maybe you want to have a random image, different versions of different products or all these kind of things using algorithms, her work has kind of extrapolations that you can kind of build up from that as well. So most of today it is prompt based input leads to output. And we're fairly comfortable with that now. We often glamorize it way too more than it actually is that's quite simple, but it is just prompted. The action is started somehow fairly explicitly if we go back to it. And although limited chains often happen, they can be quite complex. And because of that complexity, we can often fool ourselves into thinking, nope, it's not prompt based. Prompts often fuel the genital styling to create images or to create outlines before you write. This doesn't mean that those, as I say, they can't be incredibly refined. And actually prompt writing is an art form in itself when you're actually doing it, but it's really just a response, a reaction to a prompt. Today, as I said, we are reactive. And that work by Katrina is randomized. It can appear fairly interactive, but it's not. You can go quite far with these kind of pieces, but not really what we've maybe thought of is where we were gonna go. For example, if you were gonna write a post and you were going to have the top five holiday spots, you could change the background to different top color combinations using prompts or you could pick three photographs for each holiday spot as a gallery and you could feel pretty cool about that because you didn't pick them. You could use a recommended font or readability combination. You could do all of those things today. But most of what we consider AI today is simply a workflow. It's not the AI we were promised by sci-fi and movies. It's not thinking really, it's push and react. It's one step above that connection and response to reaction. And that doesn't mean it's not useful. It doesn't mean it's kind of not cool. It doesn't mean it's not exciting, it kind of is. But workflows can also free us from mundane tasks and allow us to be empowered. They can also suggest what is an accessible color scheme or advise the best legible font at certain sizes and correct us when we're maybe not doing something we should be. The FT and many organizations like this are starting to have guidelines and these are really worth us starting to consider when we're looking for our work with clients and we're looking to form our guidelines on how we are even gonna approach these pieces and approach our AI. So this declaration shows a team formed to explore it and experiment, but with a focus on ethics. And a note of caution is worth sharing in the same statement. It's kind of interesting, some people fall into different camps on how they feel, but it's worth noting that yes, this excitement is amazing, but pause. Think about the commitment to journalism by this establishment, to its readers. They don't want any kind of fall in that. They want to reflect on that and use it for a purpose. Wired also has guidelines that's published and these are pretty good if you're looking to kind of have your own basis and then spin yours up for your own organization as well, which I think. And most of these revolve around may is the kind of quite curious word I think to be used. And also they, this fascinating alignment are not using stock photography, but using AI to spark ideas, which I think is kind of interesting. AI is that kind of helpful friend and that spark and that ease of workflow, which I really think is important to start thinking about. Art, it actually turns out and visual is easier to automate than code. This is a true number. If you actually used AI to generate code, you would have this percentage of vulnerabilities. If you look at this article, it was an experiment, like a test run on it and this was found to be true. This means that genetic processing when it comes to styling makes a lot more sense than actually using it for things like code, which I find kind of interesting because some of the applications we thought of might not be the best ones for using these technologies. It might be the other ones that will be the better ones for using these technologies. What can be done today though, falls into some simple categories. Most of these, we kind of are pretty used to. They become household things that we're pretty used to if you look at them as well. That's visual, audio and text. They almost feel mundane when I'm showing them. I couldn't share them a year ago and some of them feel quite flash and new, but they feel quite normal now for us. These are generative applications and they are growing almost daily in our acceptance of them and the normalcy that we have. But what is the state of generative styling today? Well, it's really in content creating or constructing and it would come down to probably the following. Something like typically it's surface, that's it. It's recommendations, templates might be recommended and it takes the role of an advisory guide. Pretty much it. It's all light though. It's pretty surface. What about the future? Do we get that sci-fi? Well, one of the things we need to do in the future and probably near future now is be okay with accidents, which in turn is be okay with experiments. This generative form isn't gonna really progress with caution and worry. Of course, we need to not create things that harm but we need to explore and we need to generate what ifs. When the key parts of generative art and art forms in general is embracing this happy little accidents and in the future there's going to be a lot more fun visual experiments that are probably quite challenging for us and we're probably not gonna see some of the, and I say this loving minimal design, minimal monotony of past content and we're gonna probably see some challenging visuals and some things that are quite engaging that has generated for us. I personally think that's quite exciting to really explore what could be but to be open to embracing those happy little accidents is something that is gonna take a lot for us to do beyond our own personal blocks. And you can think of this as beyond prompts and maybe be truly responsive. And of course today there is likely gonna be a prompt at the route somewhere because that's just where we are with technology but there's artists like someone called John McCormick who have been creating life forms that were impossible to actually and are impossible to create outside computers but he creates them within the computers and I think this is just gonna be the norm. The things that couldn't exist outside are gonna be created within and the next step is to think of how you can maybe go and do that. What could you create for your clients that couldn't exist before and how can you start extending that? How can you start utilizing that? We are seeing that with things like product combinations and different things and to do even more of that. What if instead of prompts you provide content and the system creates? We kind of have this today but what could we have more? This is kind of true or maybe at least not prompt based and pure content over just that input. Let's take that holiday article again. You add the content and then without a prompt you have that styling applied that fits. Just fits, it just works for you. Now the prompt kind of has been that content so we're kind of there now. That's kind of what we have but if we kind of go beyond that maybe there would be an acknowledgement of somewhere in the system that you don't need photographs or that you need better photographs and they would appear and then the photographs appear and then it would know the number of photographs that you would need for that amount of text that you have and then you'd have that and then as that grows it would know what your style is or know what the style should be for writing for that article and then it would be able to recommend and pass that. It kind of spirals when you start to be able to think that. Gets a little bit sci-fi when you start to think about it might actually know what your style is it may be able to give those recommendations but it's proactive, it's seeking even. It really is able to be reactive to you rather than passive. There's an interesting aspect to this and Genovative Art is actually creating its own style. You can see this influence from hyper-real food to the washes and colourisation, you know, glitches and manipulations. So Boris took this a step further and he won a Sony World Photography Award. This is not a real photograph that he won the award with. He sent in an AI photograph and won an award and when he won the award he went oh I applied as a cheeky monkey in this article that he literally said that just to see if it would be accepted. It was. So it raises a few questions particularly about Boris but it also raises some questions about what is art and what is the art form and how does the inspiration come in. We can see three hands. There are some obvious anatomical issues with this if you look at it further but you don't because you accept it as an art form and you set this visualisation and we've grown to appreciate photography as an art form so there is a lack of questioning of photography as an art form so it's kind of curious. Genovative Art is creating a style of its own as this isn't real. There is something to be said for that and then that circling and repeating and then people creating in the form of Genovative Art you've seen people create filters that apply them to normal photographs that aren't generated that make Genovative Hyper-Real photographs that weren't Genovative Hyper-Real. There's a whole cycle going on. The case he has is an interesting take to what it looks like beyond the input and into the system. The system as the artwork. This makes sense to then become the style in some sense and influence and evolve and this was one of the processing co-founders so someone that really knows from the origin of Genovative Art forms. Beyond prompts is really what we should be considering. What lies when we let true generation happen? At what point do we stop prompting and really start those conversations? Stop conversations and just react. Don't ask, just see. Beyond prompts is making connections between styles, between content and then suggesting what style fits it. This is where we are going from the template to the first filled out draft and then more and more. And then we start with this less uncanny valley. We shouldn't think of AI either as human again. We tend to think of it as cute and that's probably, in fact, it definitely isn't a good idea. The inputs of now are going to create the reactive generations of tomorrow. Maybe we shouldn't and from poor profiles.  It's a really challenging word. Don't think of it as human. Think of it as a slippery slope. So this article, it actually shares this Dickens quote of it's either the best or the worst of times with AI. And I think that's really important to think about depending on your perspective and depending on where we go with this. A big factor in what will or won't happen is hardware advancements. It's not even that they're going to be smaller. They could be bigger. We might need bigger screens, not smaller screens for all of this. We're going to need AI tooling. We're going to need in partnership with hardware to really get that. These tools need to be accessible enough to allow advancements and attractive and interesting enough to peak curiosity and functional enough to make economic sense to be created with. Even with the best non-cost effective tool is going to diminish and people are going to need to iterate and use it. The key part, at least for the foreseeable future, is going to be the role of the human as the editor. This isn't changing with the near future or the far future tooling, as far as we can predict. It certainly hasn't up to this point. Even with the most dreamlike of far away from prompting, the content produced in order to not hit that valley needs some editing, adjusting from the hyperreal. And often, though when we think about it, algorithms are part of the conversation. For example, fracture art is often not even considered generational art because a computer does all the work. So where do we draw the line and where do we determine what is actually generational or not? What happens when the computer does it all? I don't have answers to this, but these are all the type of questions that we really need to start asking ourselves, asking them in companies, having policies for, and then asking collectively as a community about what do we want to create. This robot isn't real. But there was a calling robot in 2010 that brought up the question, as often robots in AI do lately at the uncanny valley. And that's that when our brain sees something that is too real, we really question it and we have a lot of problems with that. Generative dance is around the uncanny valley with what it creates. We fear something robotic, but too human. Yet we also attach humanization to it, cutify it, and make it less scary from cute logos for AI. How many AI products have cute logos, most of them, that's just what we do as humans and we probably shouldn't do that. To faces on robots that don't need them. Robots do not need faces, but we put faces on robots. Adorable, right? There is a danger though in that valley. So we need to be aware of this and we need to, as we create products and we build generative experiences, be aware that trust is key and broken trust can, it's really difficult to gain it back. If the system starts doing too much without building up that trust or we have that bond or we are dealing with different generations and we're dealing with different generations, as in human generations trust, this is a whole different conversation. We don't do well as humans with replicates, we don't want to be replaced. We don't do well sitting in that valley. Could AI even make us care more? Could it make us focus on what's happening more? Could it help us pay attention? Could it take up some of our burden? Could it make everything better and could it enhance skills? Could it free us from those mundane workflows and really open us to learn new skills? One of my feelings is actually it probably could if we allow it to, but there's a lot of conversations we've got to have to be in a space to do that. It needs to be, we need to be aware that we need to let it take some of those burdens as well and be okay with that. It does offer us opportunities to analyze and document and augment human intelligence to raise awareness for generations to come. But perhaps that's going to be really hard for us because that offers, we have to offload some of what's us to it. We are stuck in that gap where the computer is primitive today but where we might end up with something different. It's all uncertain and AI isn't human or shouldn't be thought of as that. The pivot to learning or really kind of getting to that point is key here. What is intent? What are we going to use it? That point of intent is incredibly important. Trust and intent. Knowing the concept of intent and trusting that intent is going to be critical moving forward. There are certainly a lessons from history where we are going can get strangely sci-fi fast and really hand-waivingly predictive and vague and everyone has their own hopes and dreams and favorite science fiction. However, we need to ground in reality and everyone has a lot of life going on. And sense that AI shouldn't be human and it isn't human and AI probably doesn't do much in our day-to-day life or does more that we think it does in certain areas and recognize where it does things. It truly can empower, it can lead to powerful creations and generation and genitive styling is happening already for us. We just need to be aware of where those workflows are and recognize them. Today, it's barely learning to crawl. That baby isn't doing very much. Let alone walking. Really not doing that. We have lessons to learn from genitive art because it's been around for a long while and genitive styling can go a long way. We have to experiment and it starts with housekeeping. We're going to look back at today's workflows with a cute mindset of primitive judgment just like those cave drawings that I shared earlier. And it's going to form that timeline but in many sense it's an exciting time to experiment and learn considering how you can include and ease those flows. Things that's brought today are going to be the foundations of possibility. Right now, there is often something a little off about these generations and we can laugh and we can think they're kind of cute but this is what's been generated today. The system though is learning and improving for each of these generations. It doesn't see people. We can think it's adorable but it doesn't. The editors need to edit out the flaws. That's the human interaction. Hyperwheel isn't this Frankenstein body part going on a holiday by a seaside. Hopefully, this is not your summer holiday. If it is, this is not relaxing and I would encourage you to have a different relaxing summer holiday. That's what this is meant to be and that's what AI created me when I asked for this in a prompt. I'm unsure this is relaxing for many in that picture. Whilst prompt based fun is hilarious and I do encourage you to have some fun with friends with prompt based. It does teach you about prompts too and it teaches the system and we're all evolving as we learn to do that. We are there already though. We just don't know it at times and this quote again by Marius really sums up to me how what we think of as the future probably isn't the future. Just like we think of generation as new and it truly isn't. Our human brains like to not always accept the reality or history and think of the new as new but the truth is that genitive is here and we have to accept it already. Now is the question how do we want to use it and how do we want to empower ourselves through it and where do we want to learn from in the past of history and not make maybe some of those mistakes and maybe also want to draw on that vast knowledge that is there already because it has been around for a while we just haven't really used it fully. So these are some of the resources all of these images were generated by AI. So you can kind of follow these resources to have fun with friends and generate for yourself. And here's a QR code to get all those links because I know that was a lot of quotes. So I'm happy to answer questions. Thank you. Thank you, Tammy. Questions, anyone? Well, that means that you did a great presentation and answered any potential question we had today. Thank you, Tammy. Oh, there's one. There's one. You can have a long question. Yes. So once upon a time, no. I don't understand what you mean with beyond the prompt. I don't have enough experience with this but what is a prompt and what does it mean to generate something without a prompt? Yeah, so a prompt is you generally say something and something so it can be you're physically adding a prompt or your code is saying a prompt. It's a chain reaction from something without a prompt is literally the system just creates. Nothing would initiate it. Yes. That's why it gets very hand wavy but nothing would initiate it. So imagine a site exists. This is where we're going to get a bit weird. A site exists and content gets added and it responds to every different bit of content that's getting added. But you don't at the moment you'd have to say generate the styling for that. That's like a midpoint but that's like the best way I can kind of describe it today. At the moment we're very chain reaction. Kind of. Does that make sense? Yeah. And then it goes even weirder. If we think of the possibilities of creating images or design with AI where do you see the strengths and the use cases we might have today? So for example, I love to create text with AI. I learned from you that's not the best use case but going into image and design is something which I'm really eager to. Where are the strengths? Where are the weaknesses? What is possible today? And where are the above? Text is fine. It's code. Like it's not good at code reviews. One of the good ways is text outlines. Things like Grammarly is really good. Doing an outline. Generate me an outline. There's too many different tools out there. Why I say Grammarly? Oh my goodness. The outline tool, is it Grammarly Go or something? Things like that. Or create me an outline and then you just fill in the outline. So good. It's again that workflow. It's like take the stuff that fills my brain so I can then do better stuff. That's basically good form from that. So filling out outlines. A lot of stuff that maybe back in the day if you ever use Alfred or those kind of tools that you would have like shortcuts and templates that all shortcut like key commands that you would paste with templates. AI will do that for you. That's great today to use. Still not AI though. Again we're using a big term for a tiny little thing. But let's use that term. Those tools are great. Offering how you could do your language better. Oh my goodness. So better from a tech space. To parse your content and suggest how you could improve it. I use that all the time. And that is getting better and better and better for tone, for quality, all of that. That's generally just like pattern matching is at that level. So it's fooling you. Create a template. Image generation, 100% starter content. Find me multiple images that are like something. Recolouring at mass or stylizing at mass. All of those kind of things. I don't know if that answered but yeah. Tammy we've been mainly talking about like specifically asking AI for things. And we've already had a conversation about this. But what opportunities do you see in having AI give you recommendations for a design for example. You mentioned some examples saying hey you are probably going to need like five images for this length of text. Generate those and so forth. But yeah what opportunities do you see in having AI act like someone in the background as an agent or something? I would love that. Random thing but I would love AI to give us the color of the year from Pantone. It would just like I don't know. The art nerd in me would be so excited if AI predicted. It's just a random thing but also just giving us it has so much content that we don't always have content wise. I remember studying art history and the books and having to study that content. It has access to all of that and is able to process it so well and give access to it. So from the advice and the guiding perspective. Yes I think there's a definite guide from accessibility, from a what content just looks better in these from readability from business perspective. What just looks better? What's read better in these situations? What's read better in these formats? All of those kind of things as well so legibility. There's so much better that it's going to no data that I just won't I can no ish in my career but I'm not going to have access to.  It sounds a small one but it's a big one as well. So coming up with that again though that's still you're going to be an editor. That's where I think like often people are like oh there's going to be no need to be. I can't see for quite a considerable time that humans aren't going to need to be an editor. I don't think you're going to need to do input as much. I think quite it's going to do things. Do things is a big word but you're still going to need the editing. I think there's going to be something about an art form of writing things. This is kind of where it gets a bit weird but if you think about people pay extra for craft people pay extra for handcrafted objects. I think we're going to move into a space of we're not going to suddenly have the you will be able to tell what is AI for quite a considerable time. Three hands. Weird hand. It can't do hands. It's going to take a long time before it does hands. See the baby. But also I think people are still going to want that. You know yes you can get your article styled but people will still want a handwritten article. The art of journalism and it's an art form is not going to go right. The art of these things. Is there going to be a narrow? I don't know. But I think there's craft still in these forms. As someone who has done art I am not scared. I am still wary because I'm a human being and all human beings are wary but I think it being able to come up with combinations that I've never thought of. Like I am so opinionated on colors for example and I'm going quite away in your question sorry but I'm really like color sensitive so I'm super challenged but I would love it to challenge me on colors or challenge me on layout. Some of the things that the AI generated I was challenged by and I love that. So yeah I want AI to challenge me. Anyone else or we close the session? I think everything was quite clear out of this explanation. I mean you know how to find Tammy if you have further questions regarding that Tammy thank you very much for this amazing session. Thank you.