So our next presentation is X-Fault and Automated Framework for Exploitable Fault Characterization in Block Ciphers by Sayan Deep Saha, Debti Mukhabadyeh and Palab Dasgupta, presented by Sayan Shah Saha.  So if the people standing in the back, there will be plenty of seats at the front here if you want to sit down. Hello. Thank you, Dr. Tanstel for your introduction. So I'm Sayan Deep Saha from IIT Kharagpur and today I'm going to present our work called X-Fault, which is an automated framework for exploitable fault characterization in block ciphers. By exploitable fault, I want to mean those faults which can be used by an attacker to launch a successful fault attack at the algorithmic level. So fault attacks are in reality and we have to prevent them. There exist several countermeasures, some of them are extremely resource hungry, some of them are not, but many a time they do not provide 100% fault coverage. Now in practice faults are extremely repeatable. So if you can figure out one fault which can bypass your countermeasure and it's exploitable, then your countermeasure is not of any use. Now while designing precise proper countermeasure, especially for resource constrained environment, we really need to know which faults we do need to really prevent against. But the problem is that who is going to tell you? You don't have an oracle, right? But this information is extremely useful because if you have the exploitable faults, you can design precise countermeasure, you can test those countermeasures properly, and also you can select better ciphers, you can design better ciphers with more robustness provided against fault attacks probably. But there are several challenges involved. First of all, not every possible fault is malicious or exploitable. The fault space of ciphers are huge, of prohibitive size most of the time, and analysis is quite complex. For example, it took kind of 8 years to figure out the optimal attack on AES due to Professor Dunstall only, and even after that people figured out like new attacks at seventh round and all, it's game never ends. Now we have too many ciphers, like hundreds of them probably, I don't know, and more are going to come within couple of years with this NIST call for lightweight cryptography. So the call of time is an automation, which we require. What are the properties should we expect? First of all, it should be generic to be scaled for all possible block ciphers we have in hand. It has to be fast enough, and it has to be scalable for large ciphers like AES. In this context, there are a couple of works working at algorithmic level, the most remarkable one is due to Zhang's algebraic fault attack. It provides a nice generic representation of ciphers using polynomials as well as the faults, and use the SAT solvers to solve them. The problem with this approach is that it's not so fast and it lacks interpretability. It will tell you whether it's a fault is exploitable or not, but it won't tell you why it is exploitable. So that information is required, right? Another nice work is due to Gilia's Barthe. It uses programs in this technique, but this is mostly applicable for public ciphers. So there are gaps. When we take a deep view inside DF Attacks, how they work, we found that the main idea is to basically introduce a fault to reduce the key search space to some extent where you can do an exhaustive search practically. So what he suggests here, let's not perform the exhaustive search. It will take too much time. Let's automatically compute the search complexity. That's sufficient to understand. Now, the challenge is how to do it in a generic manner for every algorithm. Fortunately, we came up with one approach which we call as X-Fault. So basically, X-Fault takes two kinds of input. One is an executable of the cipher, and one is an abstract description of the cipher. Here. It also takes a description of the fault. Now, when it has a fault, it simulates the fault over the executable provided and generates some fault simulation data. Over the fault simulation data, it basically minds the fault simulation data and tries to figure out certain properties which give you some hint whether the fault is exploitable or not. After that, it uses some grab-based abstraction of the cipher and tries to tell if the fault is really exploitable and also returns the attack complexity, the attack procedure, complete attack path, the required number of fault injections. So pretty much everything an attacker or an evaluator needs to know about a fault attack. Now, there are a couple of results here. Just honorable mentions I've kept. Like the first one is for eighth round attack on AES S-Box. So this attack is due to Professor Townstall. We reproduced the attack with our tools within minutes and it took remaining give complexities to part of eight and number of injection required is one. There is a seventh round impossible differential attack also found out by our tool and we figured out couple of attacks on present. The most remarkable one in this list is this gift attack. Gift has been proposed last year at chess and this year we found optimal attacks on gift using our tool within minutes. So let's see how we do it. So for that we have a formalization. First we formalize the cipher itself. So the idea is to formalize the execution of a cipher. So we consider here two execution. One is the correct execution, another one is the faulty execution and we represent this as a sequence of states. Now, when you take the differential, we symbolically represent each differential as state differential delta ij. We are going to analyze this differential itself. Let's take a look in the parameterized fault model that we are providing. This is the state where I am injecting the fault. This is the width of the state. This is a very important parameter which determines the fault model and this is the location of the fault in the state say which byte has got corrupted. That's it. Now let's get in the main concept of our tool which we call as distinguisher. So what is a distinguisher basically? It works like a filter which filters out most of the part of your key space and returns you a smaller key space over which you can do an exhaustive search and correct key is guaranteed to be there, present there. Now, the distinguisher is manifested in the form of constraints over the state differential. We consider state differential as random vectors here. Now, variables inside the state differential becomes constrained when it becomes a distinguisher. How it gets constrained will come later. Now that results in a non-uniform nature of state differential distribution and this non-uniform nature or the bias in the distribution actually gives you the key filter. Let's take an example. It's an 8th round attack on AES. We put a fault here. It propagates like this and at this level you see there are nice patterns. We can observe like this column is correlated, linearly correlated and that gives you this nice set of equations. So this is one of the distinguisher in our picture. Now let's formalize DFA. How we really formalize a DFA? Not only the distinguisher, there are a couple of other things as well. The first one is an algorithm to evaluate distinguisher over the key gases. Now, if you have a distinguisher, a filter, you have to test all possible keys over that filter, right? Now if you have a key space of 2 power of 128, it's quite not possible. So you have to figure out a nice and clever divide and conquer policy to do so. The second component is the remaining key space complexity, the filtering capability of the distinguisher. What is the size of the key space? You have to search exhaustively later. So in our tool, we just automate these three steps one by one. The first step is finding out distinguisher for fault simulation data, as I've mentioned already. We use a metric for that. The metric is well-known Shannon entropy. The criteria here is that if a state differential is a distinguisher, if and only if the entropy of it is lesser than its maximum possible entropy. That actually indicates the statistical bias. Now to identify the constraints on the distinguisher, there are two possible cases. First of all, the random vector we are considering, whether each variable in that is statistically independent or whether they are statistically dependent. If they are independent, we can easily mine them out from the fault simulation data. But if they are dependent, we have to apply some other technique. Here we apply classically well-known up-priority algorithm for that purpose with mined-out relationships among the variable, if you give some data to it. Now using these two steps, we can figure out the distinguisher, their quality as well as the constraints they actually impose on your space. Let's take an example. So this is an example of impossible differential distinguisher. You see the variables are quite independent here. But none of them can take the value 0. So basically the range, it should take value is stringed and that causes the entropy reduction here. It should be 128, but it becomes 127.90. That makes it a distinguisher. The next example, we have already talked on this. See these nice patterns. Here the variables are dependent among each other. There are dependencies. These columns are dependent. And then that makes this state as a distinguisher. And our tool can figure this out quantitatively. Now once you have the set of distinguishers, we have to figure out the divide and conquer strategy automatically. How can we do that? We use a cipher dependency graph. That's the graph-based abstraction of the cipher. This graph is specifically due to present. These dangling nodes here represent the key nodes. And these blocks, complete graphs represent the S-boxes. This is the palm layer. Now you see there are 32 key nodes in these two layers. But if you consider evaluating this node of the distinguisher by guessing keys, but you see here 16, here 4, these red key nodes you have to guess. The number of red key nodes are only 20. So effectively, instead of key guessing of 2 power of 32, you are guessing only 2 power of 20. That gives you a divide and conquer effectively. Now after a couple of more steps, you can identify individual independent computation chunks in your cipher, which if you do, I mean, parallely, you can reduce the complexity a lot. And that effectively gives you the divide and conquer. Now, once you have the divide and conquer policy, you can quite easily figure out what is the evaluation complexity of the distinguisher going through. Once you have the distinguisher and the independent pairs, you can individually figure out the remaining complexity for each individual pairs. And you can combine them, giving you the filtering capability of the whole distinguisher. And that kind of completes the X-fold. You can compute the attack complexity in the form of remaining key complexity and evaluation complexity. The attack procedure is given. The required number of fault injection can also be returned. And after all it takes, it says your fault is exploitable or not. Now, this is one of the inputs of our tool. How we input the CDG graph, how you construct it. So you can see this is one of the S-boxes. And this is represented like just node by node. So basically a textual representation of this graph is presented. And internally it converts it to a graph. This is one. Now let's see an output. So this is due, this example is due to the GIF block cipher. This is one of the distinguisher that we use for GIF. The associated key bits are 32 in number. Now, what we found, instead of a key search of 2 power of 32, here you require a key search of 2 power of 11.53. That's a reduction. And the evaluation complexity is 2 power of 8. That is, you have to search the key in 8-bit chunks. Here is another output. So I was mentioning about independent computation chunk. Here it is one independent computation chunk. You can see that if you guess two key bits at a time, then you can evaluate this distinguisher. So this is from another layer actually. And it says that if you just guess two key bits at a time, you can get the whole key of AES. I mean, I'm a gift. They are 32 key bits in this layer. Easy. Now to conclude, this is the first time we have provided a mean of doing DFA completely automatically and in a scalable manner. And additionally it provides the complete description of the attack. There are several augmentations possible over this, like further generalization for key schedule attacks, DFI attacks. Since it's the optimal countermeasures, countermeasure vulnerability analysis, et cetera, but this is the first step. Let's see a demo on XFALT. So I'm going to show the eighth round attack on AES. So there are two kinds of inputs. One is the fault simulation data, represented as ARFF files. So here we show one of them, pretty much random. This has been generated by adding the keys, adding the plain text, and fault values, of course. The second thing is the abstract description of the cipher. It's a dot cipher file. So here you see there are two blocks, like begin block, end block, construct. And within that I represent each function of AES in this graphical form. And then you can internally construct the CDG inside. That's that the tool. Now let's run the XFALT. So we are selecting AES, because we are targeting AES in this case. So the distinguisher identification step is running. We have 11 state differentials to analyze. Now it is finished, almost. Now we are calculating the grab base, using the grab base abstraction. And in this attack we found that two distinguisher are required to be used head on. Now attack is complete. Two distinguishers have been found. So it reports evaluation complexity to be 2 power of 32 and offline complexity. That is the remaining key space size is 2 power of 7.97. That's roughly 2 power of 8. That gives the optimal attack on AES. Now let's see the two distinguishers that we have used. If you have them, you can reproduce the attack on any implementation. So the first distinguisher, evaluation complexity is 2 power of 32. And it reduces the key space from 2 power of 128 to 2 power of 32, roughly 2 power of 32 actually. And here is the second distinguisher, which reduces the key space further to 2 power of 7.97. That's roughly 2 power of 8. Now let's see the example CDG graph. This is due to the first distinguisher that we have evaluated. You can clearly identify the independent computation chunks. If you just compute over these chunks in a divide and conquer manner, you can do the attack scalability. So that's all. This project is funded by Synopsys CAD Labs under this title. Thank you for listening. So do we have any questions? So is this available on somewhere like GitHub? Not yet, but we are planning to make it available as soon as possible. Anybody? Sorry. So speak here. So is this mining part, does it depend on which inputs you are or on which plaintext you are applying? No, but you have to just give sufficient simulation data. That's it. But we found that the amount of data, number of simulations you have to do to get the distinguisher is quite less. I mean, for AES, I use two keys and couple of 50 plaintexts probably and I get the answer. It takes, it does not take much time. But I mean, this assumes this bit flips, right? No, it's not bit flips. You can provide many kind of fault models. We have tested with multiple fault, byte fault, nibble fault, everything. But still, like on algorithm level, I mean, if you would have like physical fault, whatever glitch or something, you may have input dependency then. You can say that, but this is an analysis at algorithmic level. We are analyzing algorithms. We are not taking implementation in account for the time being. Later, we'll extend it on implementation then those things will also be included in the fault model. It depends how you design your fault model. I mean, the abstraction of the fault, that's it. Thanks. Well, let's thank the speaker again.


Some years ago I worked with a small firm that operates a library. I was fresh out of college and seeing that I love to read I decided to work in this firm because I was passionate about books. I enjoyed working there. The firm expanded based on some ideas I had suggested after months of working there and accepted some monthly paycheck that was below how hard I worked. The business owner wouldn't let me go. It hurt to do so, but I had to live. Years later the business has grown and I occasionally consult for the business. Not everyone can become an entrepreneur. This is why we must find out who we are and we stay in our place. Some people have a rebellious spirit and cannot stand being bossed around.  Some are docile and do not know how to push the bar. They are suited for jobs. This doesn't make one person better than the other. All that matters is finding your place and staying there. This is where your fulfillment comes from. But in being an employee nothing stops you from achieving some of the greatest results of most successful CEOs. There are real life lessons of employees who work their way to the top. They are as successful as most self-made billionaires are. So being an employee is not a curse, but being an excellent employee who climbs all the way to the top is better. In today's video I will be sharing with you some lessons on how to become a better employee. One who can climb the success ladder through excellence. Subscribe to this channel so you don't miss other interesting videos like this. One, develop your soft skills. More than ever, we are living in a time when skills required to succeed in a digital world are mandatory to learn. But as I have personally discovered, as a young person, technical skills are not all it takes now to succeed in the business world. Although it is great to learn technical skills, you also need to add to your technical skills and soft skills to thrive. According to the World Economic Forum, soft skills will be one of the top-job skills by 2020 because people with high emotional intelligence handle pressure well, know how to cooperate with others and are open to feedback and empathetic. Everyone would love to work with people like that. Besides emotional intelligence, other soft skills like leadership, ability to communicate, being detail-oriented, taking initiative, decision-making, networking, problem-solving skill, etc. are important skills that will increase an employee's chances of rising to the top. A recent international study surveyed more than 500 business leaders and asked them what sets great employees apart. The researchers wanted to know why some people are more successful than others at work. And the answers were surprising. Leaders chose personality as the leading reason. 78% of leaders said personality sets great employees apart. More than cultural fit, 53%. And even employee skills, 39%. Albert Einstein said, We should take care not to make our intellect our god. It has, of course, powerful muscles, but no personality. Get technical skills, but soft skills, most importantly. 2. Be willing to do more than you're paid If all you do is all you're paid to do, then you're not better than anybody else. It's often somewhat difficult for lazy employees to accept. But if you want to be an excellent employee, you must be willing to do much more than is within your job description. And do it gladly. I read the story of two young college graduates who were asked to work in the mailroom. Let's name them George and Joe. Each day, George resumed work. He would complain about how he was insulted by being told to work in the mailroom. He would grumble, complain, and do shuddy jobs. Joe, on the other hand, did his job gladly. Every now and then, when he heard footsteps outside the door of the mailroom, he would stick his head out, greet the staff passing by and ask if there was anything he could help with. Guess who got promoted from the mailroom later on? Travis Bradbury, a writer and fast company, wrote, One thing an exceptional employee never says is, That's not in my job description. Exceptional employees work outside the boundaries of job descriptions. They are neither intimidated nor entitled. Instead of expecting recognition or compensation to come first, they forge ahead in their work, confident that they'll be rewarded later, but unconcerned if they're not. 3. Start to take initiative I work with a media company and one of the questions I constantly ask is, What can be done better? An excellent employee never becomes complacent, content with paycheck he receives, and satisfied to go home even if problems exist in the company. A smart employee looks for loopholes, things that are not right in the company, and figures out ways to plug it. Don't wait to be told what to do. Bosses pay attention to employees who have eyes for problems and who take the initiative to solve the problem, rather than being a yes employee. Ask questions about why things are done this way, and ask if you could make suggestions on how things can be done better. I admit, some unwise bosses love to be the one with all the ideas, but if yours is a company where employee suggestions are welcome, don't hold back. Just sticking the initiative to do what's right for the company's growth may not increase your salary, or sometimes it does, but it teaches you the habit of excellence. 4. Read more often I have found that my best ideas often come while I'm reading. How does reading make you a better employee? Well, the major goal of your company is to succeed. If you have a success mindset, one of the things you will be focused on is your personal improvement. Personal improvement increases your chances of success, and nothing more supercharges personal improvement than reading books. Moreover, you don't want to sound like the ignorant employee each time there is a staff meeting and questions are asked. Being able to give the right answers can also show you off as knowledgeable and can equally help you keep your job. 5.  Nobody cares if it's not your fault. Just go ahead and fix it when things go wrong. Excellent employees are not looking for ways to avoid problems. They aren't looking for who to put the blame on. Instead, they see their colleagues in the office as a team. And if something is wrong in the company, even if it wasn't perpetrated directly by them, it's a problem of the company and ought to be fixed. This is how excellent employees become better. They don't play the blame game, but rather proactively take action to solve problems in the office. Travis Bribery wrote, Exceptional employees have unparalleled convictions that things can always be better and they're right. No one is ever done growing and there is no such thing as good enough. When it comes to personal improvement, no matter how well things are going, exceptional employees are driven to improve without forgetting to give themselves a healthy pat on the back. In summary, you don't need to become an entrepreneur to become an excellent employee in life.  Excellent employees know that growth in their workplace is going to lead to their own success. They do not just see themselves as contributing to their company's success, but also to their own success. Because in striving to increase your company's growth, you are equally growing in the process. If this video inspired you, like the video. We love you.


Have you seen that trend on Instagram? The, all the celebrity, Bollywood celebrities doing the Galabo, Sotabo, Sotabo, Soma, Baudabo, Soma, no. Fawabo, Sotabo, Galabo, Soma, Baudabo, Kizabo, Kizabo, Daudabo. I don't know, I did it. I did it correctly. Dada-dinta, dada-dinta, dada-dinta, dina-dina, dina-dina, dint-dinda-dina, dint-dinda-dina, dint-dinda-dint-dinda-dint-dina, dint-dinda-dina, dint-dinda-dint-dina.    I'm Rick and it's false on Instagram, Twitter, YouTube and content. Thank you all so much. I'm Patreon, follow the official Twitter account, ring the bell to follow the notification squad. Bang! And, uh, sorry, I scared my son when I went bang. Uh, and, uh, follow us on our personal YouTube channel, the link's always in the description below. So, today, uh, the history was made. Uh, something, it was for the first times in Bollywood for sure. Something that was made for theatrical release has been released on the, um, uh, streaming platforms. Uh, it's one of the first, it's, it was supposed to be a big theatrical release and release on that. So, we got to see it today and so that's what we're doing. We're doing a review. It's gonna be a little different because it's new. We're gonna do a little non-spoiler. Correct. And then we'll do spoilers. That's because that's how we do new ones because some of you haven't seen it as opposed to when we watch Un-End. And it came out in 1950. And all of you have seen it, so. Yes, so. Uh, this is S-Glabo Sotabo, uh, starring Amitabh Bachchan, Aishman Krana, Vijay Raz. And, uh, directed by- Gulabo Sotabo. Gulabo Sotabo. Makes me laugh. It's a very, uh, sing-songy name for sure. It really is. It really is. By Sujit Sikhar, uh, from Piku. Uh, I think that's- No, Piku, did he direct Pink as well or did he not? No. I don't know. I don't think he did. I think he definitely did Piku. He wrote Pink. Uh, but we loved Piku. Pop. Uh, Piku is one of our favorite movies. Uh, two scheming men get caught up in a game of one Upsman ship. Each one attracting, uh, attracting the other members to their clan, and each one with the agenda of his own. That's pretty accurate. Uh, so, Rick, non-spoiler, do you have a paragraph at all? Non-spoiler, I have a paragraph off the top of my head. I didn't write something down definitively. But I would say, um, it- a- an attempt at a cautionary tale that has a flat front end and a better back half that's primary benefit is the strong acting performances by everybody. Yet, for me, didn't reach the potential I was hoping it would achieve. I don't consider it to be a bad film, but it's not something I would jump up and down and say, yeah, you gotta watch it right now. Yeah, and I would agree. Uh, we could get more into that and just spoil those once we're done with this little tiny bit. Um, it- I think a lot of the- I- because a lot of stuff was great. All the actors, I believe to them, 100%. 100%. The makeup was phenomenal. The accents were really, really good. Uh, well, to my ears, obviously to an- I don't know the regional, but they sounded good to my, uh, ears. I think the cinematography, it was a very beautiful film in terms of just making it look naturally beautiful. Uh, and, you know, obviously his shots are just- his films are really just flying the wall type films, right? And that's what we loved about Piku. Uh, and so stuff like that. I think where it lost us is, and I confirmed this with somebody, it's such a dialogue heavy film and it was going for a lot of quirky dialogue. Uh, and I asked some Indians to turn on English Shubs for me and tell me if they did it correct and they said it- they tried, but it does not convey some of the humor and also some of the weight of some of the dialogue in the English version. Uh, and so obviously this is strictly based off of the- if you're watching it with English Shub titles like we were, this is the review for that. Um, because it's completely different if you understand the language and same thing with a bunch of other comedies, you know. Uh, but I agree. I think it's just- it's a weird thing because I think most of the film is- it's a well-made film. It's like- like all the pieces are there, the cinematography, the acting, the score I thought was enjoyable, but it was pretty boring most of the time for me. Um, me too. And so that's- I wanted to really love it. I really did. Oh, 100% I did, yeah. Um, but I agree with you and I think the score was really quirky and fun. And I think we probably did lose some of the translation aspect of it, but even still, uh, there was a- and it isn't just pacing. It's just the story in and of itself was boring. I didn't find myself caring about the people enough and soon enough. I did see that some critic, I don't remember from where, uh, took exception to Big B and said that they- like he got- that he used his makeup and stuff and we got props more than we got a character and I felt the exact opposite. Oh no, I- I- I wholeheartedly, I think there was nothing wrong with the performances. I think- Nothing. I felt every acting performance in this was strong. It's my favorite part. If there's anything I would say that I like about this film the most, it's everybody's acting. Yeah, I- I agree. The acting is really, really, really good in this. It's just the story that they were telling. Just in terms of what I got from the dialogue of the subs, I just- it didn't interest me very much. No, I really felt like the- the cautionary tale, uh, at the end and what they were trying to say, um, would have had a stronger payoff if we had had a more personal story throughout because the payoff at the end is the personal side of this versus it being just the, uh, stereotypical, topical, at this level, bickering and, uh, versus getting- getting- and I thought we were gonna go there in the moment when- and again, now, my album being getting into spoilers here. If, uh, if you haven't seen it, uh, go away and especially if you- you know the language, I'd say definitely go watch it. I think you're gonna enjoy it more than- than we would, uh, with the subs. Absolutely. Um, but, uh, that- that's our non-spoiler review. Yeah. If you want some- if you want to talk a little bit more about the little bit of spoilers, uh, now is the time, so you've been warned. Yeah, go ahead, Rick. So the scene where Ayushman is talking to Big B and he's laying down there and he tells him to adopt him and you get the idea that that was probably a ploy. Yeah. Um, I thought that was the place we were gonna start to get into some of the more personal things about Big B's story because I was beginning to- just- just because of the way Big B played this guy, I was beginning to feel a sense of empathy and compassion and I wanted to know more about this man's story. Why is he alone? Where- where are his kids? Where's his family? And then I wanted to know more about the people living in the building. It's like, who are these people? Why are they all together? There was this bickering in the first half and it wasn't very exciting that for me it was like, we gonna get to our story yet? Yeah. Okay, I get it. It's a landlord with tenants. Uh, the acting is holding me, but the story itself was just boring. Yeah, I think it- I think in that- in that- in that time when, um, they're doing a lot of the bickering, it's- it's a lot of the language. Like it's- like little slangs that are supposed to- Sure. Oh my God, like he said that, blah, blah, blah, but it didn't translate. I did not- I think I chuckled maybe twice and I know this is not supposed to be a comedy. It's not supposed to be like- it's not supposed to be like a funny, funny film. Um, but, uh, like I think those were the moments that were supposed to keep you in those moments and they- they just did not translate with the subs. I think we laughed more in the trailer. Yeah, yeah. I think we did. I really do. And I will say, because we- we gotta say this because we never talk about the man, but we're gonna talk about him. I think VJ Roz, uh, as always, just like a Euchman and Big B, he just is always good. He's always believable. He brings such an interesting character to every film. Just- I think it's making- Everything. The makeup of his face, it's very expressive, I think sometimes. Uh, not like Jim Carrey expressive, but like- But it's not like cliche, like a Jim Carrey expression either. It's- it's- every single time he's on screen, you're just- No. Enraptured into what he- in what he's doing and he- he's effortlessly funny as well. Tell me if you agree with this comparison because they have very different faces, but I feel the same way as far as expressiveness of face without it being comedic. Just a face that has such- such character to it and such expressiveness as Andy Serkis. Yeah. Yeah, I would say so. Yeah. Right? Same- same quality of actor as well. Both are- Yeah. Phenomenal actors. Um, and yeah, I- like I said, I so wanted to really love this film, but I ended up just being like, okay, that was- that was fine. That was nice. Um, and so that's- that's really what I came away with it as and maybe it'd be different if we knew Henry, like I said, because I've talked to a few people already that said they really, really enjoyed it and they thought it was really funny, heartwarming, and I'm like, oh, okay, that's probably stronger than what I would have felt. Uh, in terms of the film as a whole, but it's- it's one of those weird films because, like I said, almost everything is good in it. It's just the film is not as good as I wanted it to be. I agree. Like it's not the director's fault, it's not- it's like it's not- No. It's just a story. Yeah. And I think as well, I'm glad that I didn't allow the- the boringness of the story for the majority of the first three quarters of it to, uh, distract me from the cautionary tale aspect because it does have an important message that I wish they had been able to accentuate more. Yeah. And the analogy I can give for it would be like, if you're driving on a road and it's raining really hard, it's easy to get focused on the rain and be frustrated by the rain, but if you're able to clean the windshield, you can see what's really out there, and that's how I felt, like the rain being the proverbial boredom I had. Yeah. Because when- when the statement was made about how do you place a dollar value on the love of a mother. And at the end, when he places a dollar value on the chair and then the store in Mumbai places the dollar value on the chair, that- that's a very important message, as is- one of my favorite things, if not my favorite thing, is she did not settle and didn't get played and at her age was like, I'm still gonna go after the love of my life and I'm not gonna be mean to you in the process. I'm still gonna let you have a home. But I know you married me for the mansion and I want to have love with the remaining days of my life. I thought that was great. Yeah. I did enjoy the end. She was like- had her whole entry moment there at the end where she was like a badass and I thought that was- that was really fun. So yeah, it's- once again, this is a review for the English subtitle version and that's the only thing we can judge. It might be a completely different film with the Hindi version, so you can let us know what you thought about this film down below. But we love every actor in this, we love the director and we want to see more- I need- I want to see more from this director actually. We need to explore more because he's a phenomenal director. Great director. I think the next one probably- what have I heard? Madras Cafe, Vicky Donner. And that's his too? Yeah, that's his. He's worked with the Eushman a lot. So anyways, so yeah, so that's our review of Galabo Sotabo. It's free on Amazon, so I mean go check it out. And it's two hours? Yeah, it's not- like I said, I'm pretty sure if you know Hindi you probably would enjoy it even more. But we're not gonna lie to you and tell you we loved it when it was just a film. Let us know what you thought of film down below.


Good afternoon. Welcome to coronavirus and our mental health. My name is Ken Berthness and I'm coming to you from Haleiva on the North Shore and it's a hot summer day and I don't know about you but we've got road work up here. So there's lots of noise and lots of stuff in the air. The good news is that eventually the days are going to cool off, the trades are going to come up and refresh us and the roads are going to be smooth for nice traveling and I'm looking forward to that. The other good news is our coronavirus is doing well. It's slowly but surely coming down and we're averaging now about 300 new cases every day. Now if you compare that to where we were in May, which was about 600 new cases per day, we're doing well. We're about half that and if you take a look at the spike in January where we were over 4,000, we're less than one-tenth of what we were in January. Now there's a but of course. There's always a but but if we go back to March where we were doing really really well, we were averaging little less than 50 cases per day. So we're still about six times higher than our low point for the year. So we've still got a way to go. The other good news is we're doing well on coronavirus. The variant BA5 is still causing us problems but we're slowly but surely working away at that. BA5 is causing is so very infectious it's causing most of our new cases but we're working at it hard. We still have a way to go. You have to remember with coronavirus this is sort of like being on offense and defense and the virus is always on offense and we're on defense. So it takes us a while to sort of learn how to stop that offense and we still need to work on our bringing our vaccines up to date, our boosters up to date and to learn a lot more about BA5 but we're getting there. So that's positive. There's another but and that is you have to be aware of the fact that our cases per day go up when there's a holiday and we've got a big holiday coming up. Labor day is just around the corner so don't relax too much and take care of yourself and be safe and make sure that your loved ones are safe as well. Now because of all this we've been focusing our recent shows on positivity because right now we're surrounded by negativity not only from the coronavirus but from the mass shootings and from the war, climate change. Every time we turn on the television or social media there's something very negative that we have to deal with. So we've been focusing on the positive and we got a very positive show coming up today. There's one caveat that I need to give you before we start and that is we're not going to give you platitudes on this show.  Who me? Don't worry. I don't know how you feel when I'm down and I'm depressed and somebody comes up and says hey you know let it go you know be happy you know just go out and better times are coming.  They don't know about my problems. They don't know how it's affecting me and it may be easy for them to be happy during this time but it's not easy for me and they don't seem to understand that. So like I said the show is not going to get platitudes. We don't have a surefire way of being positive and being happy but what we are going to do is we're going to share some of the joy that people are finding during this sort of dark time sort of the wonder of things and the joy of things that are out there that we're missing if we get too caught up in all this negativity and that's what we're going to do today. We're going to talk about the joy of art and to do that I have my good friend Tamara moaned with me today and I'm really looking forward to this and I hope Tamara is too. Welcome to the show Tamara. Thank you. Now Tamara is not only an artist she's a writer and she's a teacher so she's got a lot to share and I was thinking Tamara that maybe at the beginning of the show we could start off with a little bit sort of an overview of art the various forms and maybe wind up with what I'm assuming is the part that you like the best which is watercolors. So of course art encompasses an awful lot from performing arts music to visual arts which is what I do and pretty much since I came out of the womb I've been doing something creative. I have always drawn and I've gotten a lot of encouragement from my parents to do that throughout my childhood and then I also you know went on to get an art degree and it wasn't until I was done with college that I really started painting more seriously and the you know I'm I've taken classes in all kinds of media oil painting and acrylics etc but I really got on the watercolor path when I took a painting trip with George Belard who's a teacher and artist here on Oahu and I was prompted because of the the joy of travel I was looking forward to having this trip and it involved painting and the painting so entranced me that I've kept with it all these years that was in the mid 80s that I went on that trip. So watercolor is really a terrific medium especially if you're on the road because it's so portable and very very easy to clean up it's just water-based but it allows me to express a wide variety of things and I'll use it at all kinds of scales small little pictures in my sketchbook to really large works that are multiple feet across or high. Tamara tell me the interesting thing about watercolors and what you're saying is that it sort of reminds me of music. Somebody you know when I was studying music and I've studied the arts mostly because I'm not good at any of them and I wanted to appreciate them so I wanted to appreciate music and somebody was telling me that Mozart playing Mozart is one of the easiest things to music to play on the piano and then they followed it up with saying and it's also probably the most difficult to do well and I thought of that with watercolors like you say it's easy but it's got to be very difficult as well at least that's what I understand. It is and a lot of people find it very very challenging because it's unpredictable it moves in its own way and it's also very hard to cover up your mistakes and so a lot of people just paint in one go you just go from beginning to finish and that's it you can't it's very hard to go back in and correct something and it really has a mind of its own but that you know that's part of the beauty of it too it's very spontaneous it really captures light well which is another you know an element if you're a landscape painter or something of course that's very ephemeral too so you're sort of matching the elements with the media that you're working with and I think because it continues to be challenging that's probably why a lot of artists stick with it too they don't ever feel like they have complete mastery of it and it you know it continues to be a challenge. When you talk about light I'm fascinated with light for for obvious for many reasons but it brings me to color you know and how it changes the colors and to me I feel such a lifting such a joy when I see the colors in paintings and watercolors and that can you talk a little bit about that joy of the colors and how you how you do that it's way beyond anything I can imagine. Well with watercolor you have the luminosity of the paper that you're painting on that's really what makes it glow and so it's learning how to how to use the light in a way that's furthering that brightness and the saturation and luminosity of the color. Yeah color is really color is one of those changeable things that is around us all the time that you don't realize really necessarily what the components are but of course we live in a place too with a lot of really bright sunshine which makes the colors very intense and clear. Well thank goodness. You know when I'm writing and I'll share with the audience that Tamara and I met through writing and not through art because we're both writers and I would be writing something and it just wasn't working you know like you're talking about painting and I would just put it aside you know not throw it out I'm I'm you know pretty anal so I would hold it but and then other times I would be writing something that I hadn't really planned on and all of a sudden it opens up and comes to life and I'm saying whoa I didn't realize I was getting here and this is great I mean you have those experiences with your art. Oh absolutely absolutely I think any kind of creative work has that I mean you have you have moments where it's just not coming together and you just have to either move through it or move on let it rest and then other times everything clicks and it just you know it's like magic on the page. Yeah one of the things that I asked Tamara to talk about was in addition to painting for a long time doing art visual art she's also been teaching for quite a while and I also do teaching and teaching is it's a whole different ball game because we're focusing on helping other people with this joy and it's wonderfully rewarding but it's it can be very difficult and maybe you could tell us a little bit about how you manage to to teach people to not only do art but enjoy art. Teaching has been really rewarding for me I started out teaching at Lenicona the school that's associated with the Honolulu School of I mean the Honolulu Museum of Art and I've taught all levels from preschool age kids to people in their 90s and what I've always enjoyed about it is the creative nature of teaching you have to approach each student as new territory and fit what you're doing to what they are willing to receive and I find the biggest challenge with teaching adults is that you have to work at getting them to quiet the negative voices in their head those have really been ingrained over years and years and years and years and especially with art a lot of people had an experience as a kid where somebody told them oh that doesn't look good or you shouldn't try that and it's just that can be a deadening kind of message. During the pandemic the challenge has been how do you translate an in-person class into an online experience and I was lucky enough to get chosen to be one of the teachers for Adventist Health through Castle Hospital they decided they needed to reach out to some of their people who weren't able to get out of the home very often and they really felt some creative activity was beneficial for health and so they started a series of online classes and they had three or four teachers doing that and that really prompted me to learn how to do the online sharing. Another thing I did because my position at Linicona disappeared with corona virus they the school completely shut down and they let go all of their faculty and so I was looking around for some income replacement too so I ended up getting on the state teaching roster which puts teachers into DOE classrooms and through that experience I also they gave me some helpful training on how to conduct online classes and at least it was you know it was a way to connect during a time when all of us were really limited in how we could get out and how we could be together. Now I'm really happy that we can be in-person again it's just a completely different sort of animal you know when you're in a room together you can draw on the energy of everybody and you can take each other on and encourage each other in a way that's really a lot more difficult through Zoom when you're each plugged in individually there's something that happens in the room when you're all together that can be really magical but I'm really I'm so I feel really grateful that I still have the opportunity to share what I love doing with other people and help them find expression that way. That's terrific and I have to share with the audience. Tamara is doing her classes now in a tent outside in her yard which is one of the most beautiful places on the island. It looks out at Kailua Beach and God it's just wonderful out there and that must be a great experience for you and the students to be out. Yeah I've gotten a lot of positive feedback about the location. How is that teaching outside though that that's got us challenged right? It's not too bad I mean the tent really keeps us dry and it gives us some shade and it's really nice to have the air moving around and you know the birds singing and stuff it's not really too challenging unless it's quite windy so but we figure it out. Well that's great let me go back to one of your previous comments about when things get frustrating and I know that you know it's difficult you know whatever I'm doing I'm doing well and all of a sudden something goes wrong and it's very frustrating and I can't seem to know how to fix it. As a teacher how do you deal with the frustration sometimes that you know that gets your students and sort of stop that brush mid-air as they're trying to think about what to do? One of the most useful tactics is just to change direction and completely divert onto another track and usually changing your attention to elsewhere can help break that log jam. A lot of times if it's if something isn't going right you can figure out how to I mean a lot of it doesn't matter if it's a class or not in in my individual work too you'll come across something that's not working and as my mother told me when I was a little girl and I would be doing a drawing and suddenly there's like a big splot of ink on there she'd say turns into a spider. You just have to you have to open up and allow yourself to see other possibilities in what's happening and it might not be what you originally envisioned but a lot of times it's even better. That's terrific. I'm thinking as you're talking I'm thinking well you've got a subject in the middle and then you've got background and you've got you know all around and when you switch that attention that can really open up things that you hadn't thought of before I would imagine. So it's like you're looking at a picture and all of a sudden instead of focusing on maybe the person that's in the middle you're focusing on trees behind or the ocean coming in. Wow. Maybe now's a good time to bring in that since we've talked about art and teaching let's maybe we can bring in writing because you know I know you've been on various projects with writing especially that chapbooks that you've that Tamara gave me one of hers which was very nice and you know I have no talent as far as art goes a little talent as far as writing goes and I've always thought if I could only draw the illustrations for my own work you know because nobody else seems interested in drawing stuff for my writing if I could do it you know that must be a great freeing experience and tell us a little bit about the interaction when you're actually writing and drawing in this on the same track is that that must be phenomenal. It is it is some really interesting cross pollination can happen and I actually used to teach a class and I still may teach a class again called side by side which is visual work with written work and I used to teach it with a friend of mine who was also a visual artist and a writer and we would alternate activities writing visual writing visual and it it brings you to a different places both with the writing and with the visual work and what I did for these chapbooks that Ken mentioned I had a bunch of poetry that I had you know written over the span of about 10 or 15 years and during the pandemic I had enough time to actually take on this project which I'd had in my head for quite a number of years and so I organized the poetry into little collections that each had like a dozen to 20 poems and then I made I made each collection into a small book and although the book isn't illustrated per se it does have a cover illustration and there was a lot of artistic consideration in terms of how the pages are laid out etc and I don't know if this would be a good time to pull up my website but there is a picture on there of the so on the if you see here the on the left side there's a a shot of four little books so there was a rapper that went around each volume and each volume had a different set of poems in it so that was a really great a great little project that had a lot of hand work involved in the stitching and binding of each book another project that I did more recently was a collaboration with a friend of mine who's a print maker and there were a whole group of us who were making handmade books and the theme that we were trying to fulfill was in my neighborhood was the title so it could be anything related to your neighborhood and because my friend knew that I wrote and I also have a letterpress which allows you to print writing we ended up making these little tiny books that each had a separate poem in them that related to the theme of in my neighborhood so I printed the poems we made them into a little sort of like a little folded origami thing that got inserted into this book and you opened the book and it was like a little magic box that unfolded and this is the picture that has come up is the chapbook that I mentioned earlier these other poetry books I don't think I have a photo of them on my website but they were like little jewels people really loved unfolding them and finding out what was inside so in that case yeah in that case the imagery my friend worked on the imagery and I wrote poems that were in response to the imagery it was really nice partnership wow you know and again for the audience Tamra and I often meet at the Windward Community College for their writing retreat and Lillian Cunningham who runs that and teaches that oftentimes gives us a prompt and in some of the writing groups I'm in have a topic and so a lot of people write on the prompt and the writing retreat and in my writing groups people are writing on the same topic how does that work when you when you're teaching art for instance do you ever give them a topic and have every library student that's with you on to draw and how does it how does that work with art I know it works it's interesting with writing yeah yeah it's very similar for instance I'm teaching a class right now that's a painting class and we I'm I'm basing all of our work on the theme of place like our place on the island our place physical place that we grew up in or a favorite place that's special to us that we like to go to so all the paintings are based around that and yes just two days ago the students started working on their bigger painting pieces and so the location where we're painting happens to be right up against the Kuala Mountains and several of the students chose that to paint which they could do by direct observation but several of the other people were painting a place that was important to them in their childhood and so we were talking about what colors those places evoke what the emotions those places evoke and how do you depict that as well as what the landscape the physical landscape might look like so it's just you know it's an idea that's a starting point and then with painting a lot of times the painting itself will tell you what it wants to be about and just like with a piece of writing it might end up in a direction that's a surprise to you you know that's you know that brings up so many images and so many thoughts as we go along the koalas you know I live on the north shore but I make trips to down the windward coast many times and just driving by the koalas is an awe inspiring experience I look at those green mountains and I just you know it almost brings tears to my eyes it's it's there's such beauty in this island and all the islands yeah in Hawaii and I've been to all of them that I was allowed to go to yeah and koalave but uh the beauty is just around us and uh and to be able to to uh do it with art is phenomenal tamer we're running a little uh short on time and I've been asking a lot of questions uh I would like to turn this last couple minutes over to you in anything that you would like to add something that that struck you with art uh that you wanted to say you know it would be a good time okay that uh I can I can tell you that the last couple years has been especially challenging I mean like like everybody else I've had my challenges too and art has really saved me I feel um and part of it is not only having the ability to continue to do creative work myself but also the last couple years I have done collaborative work much more than normal and some of it has been male art that I make something I put it in the mail and send it to a friend of mine they make something send it back to me um some of it has been work that has gotten traded back and forth between me and another artist friend um some of it has just been checking in with my art friends and giving each other feedback and those connections have just been so vital to me um they were there before the pandemic and to a lesser degree but all of us all of the creative friends that I work with felt it was really essential that we crank it up and support each other in that way and it really made me feel not so alone going through all this weirdness that we've had the last couple years um and I think a lot of us have realized how much our relationships mean to us um and so it's been a nice melding of my relationships and the work that I find so gratifying and satisfying. Emma thank you for for saying that because that's one of the things that I run into all the time with the coronavirus uh with the coronavirus and the pandemic and the lockdowns and everything people have felt so alone and to cut or act that is to reach out and make those connections and be part of that connecting uh it's it's terrific and thank you so much for for being on the show it's been a pleasure and I hope I can talk to you that coming back soon. Oh it's been it's been fun thank you Ken and thanks to everybody here at ThinkDekowai thanks to Jay and Hailey and Eric and Michael and everybody and thanks to you all in the audience who joined us today and my wishes for you are the same as for everybody let's uh let's find our own path and find our own joy and uh and thank goodness we're living in Hawaii aloha. Thank you so much for watching ThinkDek Hawaii. If you like what we do please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram, Twitter, and LinkedIn and donate to us at ThinkDekHawaii.com. Mahalo.


Welcome to today's day trading recap Tuesday February 2nd another great day today plus 1,946 barely edged out Chad with my profit. So that's always a good thing Just took one mighty 90 trade for and just took a basically a scratch minus 20 and then it was all about the runners today So beyond booked 180 DKNG basically a scratch plus 30 Netflix 620 Only loser of our runners was Neo for minus 174 Tesla plus 460 Walmart 390 and win plus 460 win Actually ended up being win the Tesla were our no Netflix was actually the biggest winner But real nice winners in Tesla and win as well. So let's take a look at these starting with the Facebook Excuse me the Netflix mighty 90 expand this here. So we had this big push up We actually started getting short around this area here Pushed up against us a little bit finally came down I was trying to I was trying to get out for a little bit of a profit But it bounced pretty quick So ended up taking a little tiny $20 loss on that but not much of a follow through to the downside And then we turned around and took an upside runner in Netflix So as it came down to yesterday's high a nice key level We started to get long right in here got a great push Chopped around a little bit and got out of our last piece on this on this next push So really good trade in Netflix there for plus 620 Next trade was Let's go to beyond Beyond the meat So downside runner and beyond so had this initial flush lower big volume here waiting for a little bit of a bounce Got it right here. So we got short and cut that cut that runner down So nice $180 winner there DK and G was able to scratch out a little $30 profit This is one where it had some massive volume in the in the first few bars here So we were looking for a pullback to get long ended up starting getting long here Added to it right here still pushed against us. I was you know, if it didn't hold this pivot I was gonna bail but cut a nice bounce got out of some right there Held held held and then finally I think got out of the rest either right here right here up near this pivot somewhere So good hold there ended up scratching out a profit of 30 Nio was our one loser as a runner So take a look at Nio and Nio is not a stock. I like to trade a lot It's it's a little bit of what I call kind of a junky stock But I looked like a pretty solid set up had this big flush lower. It was really weak on the day you can see Down about 2% on this bounce We started getting short and I didn't add to this at all.  That was kind of at the end of the day Took a loss of 174 in Tesla You'll see Chad's update. He did a lot better in Tesla today. He got filled on something. I was trying to Trying to get in but just never got filled and I was being a little bit too conservative on my on my entry But had this push up massive volume. So we're looking for a little bit of a pullback I missed actually I was trying to get filled right here on this little pullback and it just fired up So I missed that piece Came back down. I ended up getting a piece in here and caught this move up towards the pivot So still nice trade plus 460 in there Walmart, which I don't trade a whole lot. I had a nice set up this was called out from one of our members in the community and Just massive spike in volume here. So we're looking for a pullback to get long got long right in here Chopped around for a little bit and then finally fired up. So a nice trade in Walmart And then lastly win. I got to give Dale in the community credit on this one If I'm gonna if I'm gonna blame Dale for when he gets us in bad trades like win I got to give him credit when we win. So congrats Dale. Nice work Same kind of thing as Walmart big spike here waited for a little pullback Chopped around a little bit and then finally just ripped higher for us So booked a nice profit of 460 in win. So all in all plus 1,946 on the day It's another solid day. So got to keep the string going. I hope you guys have a good trading day We'll see you in the live stream tomorrow. We'll be we'll be streaming live every day this week except for Friday So look forward to seeing you then cheers