what is going on everybody welcome back to the channel welcome back to the vlog you may not be able to see me because it is pitch black outside because it's about 5 30 in the morning now you may be asking yourself michael why are you roaming the streets at 5 30 in the morning and i'm asking myself the same thing but the reason is this but in all seriousness what the heck am i doing at the hospital this early when i don't usually come in until like 6 45 or so well today is a little different because i was assigned to do the tumor board which is the morning conference every single week on thursday mornings in which we discuss all of the liver cancer patients and go over all their imaging so what that entails is the fellow has to put together an entire massive list of all the patients that multiple attendings are going to talk about that morning so the liver surgeons the liver internal medicine doctors the interventional radiologists radiologists etc all discuss these patients in the morning on one big conference and the reason there is a one big conference is because a lot of these patients are very complicated in the treatment options aren't exactly black and white so you kind of need a lot of different opinions on how to take care of certain patients because after all nothing usually follows the textbook so you kind of need to circle the wagons and get your heads together and figure out the best treatment options for these patients this is what we call the multidisciplinary tumor board which is what i'm doing today okay cool michael but what the heck are you doing there so early well that's the funny part because they don't really release the list of patients until late wednesday night and tumor board is thursday morning at 7am which means i can't really do much because i'm already home by time the patient list is released to all of us so what it means is i have to wake up super early and get to the hospital and have everything ready by 7am for this conference so i don't really have to do much to get the stuff ready but i do have to go in and open every single patients MRI and have it preloaded on certain sequences so that people can see them immediately when we talk about the patient and i'm not in there fumbling around looking for sequences and images and all that stuff the goal is to keep it as streamlined as possible so that we can move from one patient to another because oftentimes there can be upwards of 30 or 40 patients that we need to discuss in the entire hour that we're doing this and like i said before some of these patients are very complex and require a lot of thinking and a lot of talking about what the next step is so i woke up extra early this morning i got here like a little after 5am because i didn't know how long it was going to take me because i've never done this before and i don't really know how to use this pack system because i've only been here for three months and don't really use it that often for this kind of stuff so it is now 6.15 i pretty much got the entire list organized that's why i got some coffee because i obviously got here too early and now i have some free time to kill which is why i'm just gonna film the video and also i kind of got a little lucky because we only have like 20 patients today and i was able to do it pretty quickly and one thing i forgot to add is that i also have to control the entire presentation or the entire zoom conference so basically let's just hope this computer can handle it today because the last couple weeks it's been running a little slow and we can't be having a slow computer and a freezing computer when i'm trying to run an important tumor board one thing i forgot to add is i stayed up a little too late last night because of course y'all and i had to come over and have some drinks with us and have a nice dinner together and obviously we stayed up too late because that's what you do when friends are over and then i had to wake up at like 4 30 get a uber all the way over here so i'm a little tired but coffee will keep me up finish this at 8 a.m and the good thing is i don't start clinic until 12 or 1 30 today and i forgot to mention i'm on clinic currently so hot so as you can see it is much brighter out right now compared to what it was earlier i just finished the tumor board it's about 8 a.m i'm headed home right now because i don't know if you can tell i didn't shower before i came i didn't wash my face didn't do any of that so i'm going to go home take a shower did change your freshen up and come back and get ready for our afternoon of clinic so maybe i'll take you along for the ride there and show you what a day in the life in clinic is like also i failed to mention how much of a disaster tumor board was because during the middle of the actual tumor board which we use zoom for the zoom link completely disintegrated about 15 minutes in and would not allow me to log back in when i kept attempting to log back in however luckily i had another computer set up in a different room because this happened to one of my co-fellows last week and when i got to that room it was logged out because i haven't been in that room for like 30 minutes so then i had to log back in and it was just an entire unneeded disaster so hopefully we spoke to a few people to try to get that zoom link fixed so we don't have this issue again so we can go through a nice seamless hour of tumor board let's just hope it's fixed by the next time i do it as you can see i'm a little cleaned up compared to what i was this morning there's the fit for the day the clinic fit so right now i have to go see probably about 15 or so clinic patients and basically it's like any other clinic or any doctor's office so in order for us to get these awesome procedures we have to see these patients in clinic well sort of so these are all of the outpatients clinic visits and with a little smattering of inpatient visits as well most of them are outpatient because this is where we get all of our outpatient procedures like i said but a majority of our procedures also come from inpatients that are currently sick in the hospital so just to give you an example of the two today i will see a few patients with liver tumors that we are scheduled to do an ablation or embolization on we also may have a few patients that have fibroids which we'll schedule a uterine fibroid embolization so that's what we do as the outpatient stuff furthermore we may do some follow-up visits with some inpatients that we did some work on while they were in house in the hospital and have since been discharged so basically full day clinic this afternoon we'll see all these patients and that's it no procedures today just clinic so i just finished with clinic it wasn't too bad but it was about four hours worth of seeing patients we didn't see that many patients maybe like i think 20 patients total and i did two telehealth visits which is always fun because you know covid stuff that's what we have to do now not everybody can make it in the hospital and honestly telehealth isn't that that i would almost prefer it if it was just like a simple procedure that we don't have to go all the way to the hospital to do an entire visit you can just kind of get it done or the phone but anyways you can probably tell that i'm a little on the tired side currently it's a little cloudy so it's not projecting the bags under my eyes quite as bad as they are but it's like 5 30 or something right now headed home probably just go ahead and in the day wave friends around to give out for it which is in like an hour have a nice glass of wine relax and i will say it's kind of weird because usually like the last week or so when i'm on call i have to come home and i'm always answering pages and all that stuff but now when i'm just on clinic the whole week i just come home and i have no responsibility once i get home i just either read up on some stuff or watch youtube on the couch or make dinner anyways headed home now this is just like a short video because honestly i had a whole bunch of coffee this morning after i was dead tired waking up and then i just got really energized and decided to film some spur-of-the-moment video of the tumor board so there's really no point to this video so i'll see you all on the next one make sure you smash the like subscribe button follow me on instagram if you're not ready and as always see you twice every single week see you in the next video


Welcome to the Remedy Force Winter 18 Early Access Program. My name is Virginia Leandro, and I'm one of the product managers for Remedy Force. If you're planning to move to Salesforce Lightning Interface, there are some things you need to know and configure specifically for knowledge articles. In this video, we'll walk through those configuration steps if you opt to use Salesforce Lightning. This is our legal notice letting you know that what we are demoing today is regarding a future product. This information is provided under NDA and any purchasing decisions should be based on what is generally available today. Knowledge articles are built using the Salesforce standard page layouts. These layouts contain a visual force page component that doesn't work in Lightning. In Winter 18, we're introducing new knowledge articles standard page layouts specifically for Lightning that have a number of changes. We've made a number of changes and have now introduced new page layouts specifically for Lightning. Changes include removing the inline visual force component that was used to manage accounts and replace that with a Lightning component. We've added a new quick action to manage that account access, as well as self-service access. We've removed the display and self-service field as it is now part of the quick action to manage accounts. Finally, we've added two new buttons, one to support link services and CI's in the related list and the other to access knowledge management process. In this demo, we assume you have already enabled Lightning for your organization. Additionally, if you plan on using Lightning, you must enable the Salesforce feature called My Domain. Enabling My Domain is beyond the scope of this demo, but there are several resources through Salesforce to walk you through enabling My Domain in your organization. Today, knowledge articles under Salesforce Classic are managed via Salesforce standard page layouts. However, we discovered one certain feature of the page will not work in Lightning, and that is the account details. As part of the Winner 8 team, we have now created new page layouts specifically for Lightning. There are a couple of things to keep in mind if you decide to move to Lightning. There are also different options on how to get there, and we'll cover a couple of those here. If you are using our out-of-the-box forms with no field additions or customizations, then simply go to Page Layout Assignment and you can simply go through and assign the new layouts as we're doing here. However, if you have added fields or customized your forms, you'll need to either apply those changes to the new Lightning pages or modify your existing pages and backport the changes to your forms. In this example, we've created a new page layout called Policies that is tied to the policies record type. We'll demo the changes you'll need to backport to have the page working in Lightning. The first thing we need to do is go down to Account Details and remove both the page component as well as the section. Next, we're going to remove the Display and Self-Service. This will become apparent a little later because we have now combined that with the new Lightning component. Next, we'll go down to Linked Services and CIs, and we'll click on Properties. Next, we'll click on the plus button there. You'll notice that we have a new button that is named Link CI to Knowledge Articles. I'll select that under Available Buttons and move it to Selected. I'll select this first button and go ahead and remove that and click OK. One of the reasons we had to introduce the new button is because in Lightning, Salesforce does not support JavaScript for custom buttons, so we needed to create a new button, but we want to avoid naming everything with Lightning, so we chose to keep the names the same. Finally, we need to build out the Salesforce Mobile and Lightning Experience Actions. You'll click Override the Pre-Defined Actions, and effectively, you're going to remove those buttons that you don't need and add some new buttons that you will need. We've jumped ahead here and you'll notice the buttons that we have for Lightning Experience now show Edit, Clone, Delete, Preview, Publish, and Retire. We'll click on Mobile and Lightning Actions, and we'll go ahead and add this new button for Lightning called Knowledge Management Process, as well as adding this new component called Managed Self-Service Access. We'll go ahead and save our page. We're now in Lightning and we'll go ahead and open up a knowledge article. Now you'll see our new page. The difference here is the actions up here in the upper right-hand corner. When we click the down arrow, you'll now see where we've added the new Knowledge Management Process, as well as the Managed Self-Service Access. Since the Accounts capability and being able to assign a knowledge article to an account, Impact Self-Service, we wanted to have this self-contained. Now the Display and Self-Service checkbox is located in this Managed Self-Service Access component. Thank you for your time, and we look forward to your feedback on the Remedy Force Winter 18 release.


This is not in production yet, finding all sorts of little bugs as well, so please do let me know if you see any, for example, in the ECG game, this thing, the menu will work on desktop but on a mobile phone it does not work. I'm not sure what's up because it does work in any other tool. I'm not sure what the difference there is. Something is on, it would not give any error messages because that's not an actual error and it was quite embarrassing because someone actually found it out, found out that that button doesn't work. I'm not sure why they thought that button was important, but I mean, I guess it is, everything is important, anyway, whatever. Right, just let's jump into it. So first thing first, we have this semi-blog, whatever we call it, probably not long enough for a blog, but this was generated over several hours, prompting GPT-4, the image, which is not bad, was generated with deadly three, and this is some thoughts on the impedance and the EEG and the fact and the unknown reason behind it's even being called impedance to begin with, because it's not just resistance, it's not even resistance, it's an approximation of resistance, so it should be called probably something else. This one obviously will need, it's already on the page, there is a link on the front page, these tools and things, eventually we want to turn everything in here into an application, a web application, but remember that the project is called chaos for a good reason. Need this bit from signal-each equality, so obviously not taking it from cardio-quest because that thing doesn't work on a mobile, so it might be something wrong with that code, probably will not take it from the main page as well. Yeah, let's take it from, not a new page that we haven't been testing for a while, of course this will not work because it's a flask application, and it will work from here. How narrow this page has to be, let's just double check this too, this page is working fine. I assume it's something in the CSS. If anyone knows how to fix this, please do let me know. Okay, image-compress-wavelet, let's take it from image-compress-wavelet, template's HTML, it's the HTML of the blog, so in the body we need this header including the JavaScript, and that's when it's something in there should have looked like that. Right, we also need to apply this style, they are essentially two styles, CSS, a page is being applied, no, no, no, no, no, no, no, no. Okay, this is really stuffed up, the text and everything, the text would be in the wrong color, whoops, can I comment, the problem with CSS is that if you already have comments and nothing will work, well actually we don't need this additional CSS, right, just use the image could be minimized, this image could be autoscaled or something, let's bring it back, not this one, in the same folder, image can get rid of that, can get rid of this, should be actually the minimum size of it, it's kind of obvious that a mean doesn't work with percentages, a 300 pixel, the molex is 600, 500, so what if I make max 80 mean 50% of that, what if I don't? Right, that's good enough, and we have the, whoops, it's working okay, right, done this, yeah, we have the disclaimer, can close that, we have the link to it, it's kind of separate issue, that we can deploy everything, okay, this fingers crossed, everything will disappear for a second, by the way we now do the redirect from www, which no one uses, but just in case, there could be some older links that have it, right, this is coming from the, right, so this is the new blog, check it out, might be running ads on it later, just to test some stuff, memory there should be ads on here, but now they are delayed by 10, 10, 20 seconds or so, yeah, so once you use the tool for more than I think 10 seconds, you get an ad, sorry for that, I have to get reimbursed for the electricity cost, I think the same thing for this tool, yeah, the ads are now, they will be delayed, so up here, a bit later, I don't know if it's better or worse, let me know what you think, and the main, still working on this one, whatever changes we made, but again, and this button is funny, it works in the regular page, but doesn't, on the MOBA, this one, yeah, this one works, okay, so I don't know what's up, suspects did check the CSS, don't know, you should do it, so I don't know, actually what that might be weird, so we can close that, and we can close this, right, let's get into our last complication, a closeover sec, minimize this, okay, so this is a EEG spectrum 60 channel, it's EEG, then we do the denoise, it should be kind of similar, a similar function, sure why I'm getting Federation University advertisement, no, it's good that I get any universities more than welcome, more than happy to place ads on the side as well, if anyone's interested, I mean, this ad is targeted at me, essentially, so I'm not sure why I'm even seeing it, right, let's start a new GPT, so we're using four default version, we're not using advanced data analysis because it's executing stuff on the open AI server, we don't want that, okay, we have the spectrum, we have this info, that code already, going, don't want to deploy yet, and that's the actual application, let's run it, see what we get, I do not getting any errors here, I'm getting any there, yes, eventually it's not, it didn't work, EEG, JS, let's just start dropping in stuff, blah, blah, that's okay, it's okay, HTML, now we're having this error in EEG line 64, event listener input, don't think we even have 64 or 18, it doesn't have any properties, so can you help us with the business script, I have to find the element, there's no file scroller, where is my file scroller, in HTML, we are missing a file scroller, we also need this style, close this HTML, pretty sure I asked it, what did I do, I asked it, asked it already multiple times to edit controls, select channel, let's pop it there at the bottom, now we have the fast growing, we have the data, we have the raw EEG straight away, we have some EEG values, it's the mobile version, mobile version doesn't fit the whole screen, if you have any ideas as to how to make it better, please do let me know, but currently we'll just be testing on, and we want to load something as soon as the page loads, this doesn't work, okay the page scroller is not actually scrolling the file, sorry it should be a file scroller, a file scroller, let's see a file scroller, so hopefully soon it will appear on the website, if you haven't checked it out already, please do so, any feedback is more than welcome, play, pause, this doesn't even look like a button, okay first of all should we get rid of all this era, it's called monitoring, debugging stuff, so we can get rid of some print statements, so at least comment them out, yeah definitely can comment that out, so let's do this again here, all right that should be, and then JavaScript should have some what's called, that play button now, console log, that one, yeah we only have the one comment this out, so on the console it should be nice and clear, control f5 to, oh it's still getting an error, there is 69 in chavascript, play speed input, speed input is missing isn't it, wait what did it say about chavascript in the file scroller, we have file scroller was was unintentional, was not needed, phage dollar right there, oh okay, no I do need it, change function, yeah in html should have the speed play button, yeah should be somewhere next to play button, playback speed, still not playing anything, at least I'm not getting any errors, get 200 response from this server which is good, obviously we'll need some re-shuffling about we do it straight away, let's go into this up prompt, normally we call it prompt text file, but the filter order might be, it's happening there, scroll through the file, okay couple of things in more prompt, so scroll through the file does not, it's not updating the charts, that's right, let's at some later stage we should start using copilot more, so yeah the idea is that yeah it's pretty good at generating template that actually works in html, might wait, okay so there's a bunch of things that we need to do there, should we do them now, oh sort the frequency spectrum, it's not displaying properly, for instance the spectrum is not working properly, should be showing the frequency bands, the frequency spectrum should have frequency as the x axis which it does, it's going all the way up to 200 which makes kind of sense, should be 250, what about linear log, right that actually works, I should have a whole spectrum selected, yeah this is a bit weird, the power numbers are extremely large, a window size seem to work okay, we also should write what is working, channel selection, well first of fact write the training working pretty well, it says centering the signal around zero and write log linear, all right it's actually working pretty well, I get, yeah the filter order was too high before, so it's essentially filtering everything out, when you go log scale, yeah the filter is a bit odd, that's the whole spectrum, so that's the whole spectrum that's more a larger window, that's actually a seizure there, so yeah the scroll, scroll doesn't work, I have to fix that, but essentially the, yeah the purple line there is the whole spectrum, yeah we have to limit this at a lower frequency going up to like 50, 50 hertz or so, because that's most of EG stuff, linear log works okay, yeah so when you go in linear it should limit the frequency access, the x-axis to go up to 50 hertz, that should be better in log, well same thing, we can limit that at about 100 or so, so we see more difference in there, and the window size is limiting us at 60 seconds top, but we should be still able to scroll through the file, right so the problem before was that the filter order was too high, this specific filter just the way it works, a play button, yeah play button doesn't work as well, it's kind of obvious because scrolling doesn't work, and make sure frequency scale is changing, it's changing the x-axis, no the x-axis shouldn't be changing, it should be time obviously currently it's data points, the number of data points I think, no it could be actually time, because yeah that that's a very long file, and we're skipping in the file to this particular second that has, yeah that's right, that's the beginning of it, so this is seconds actually, it's just a very long long time file, so we have 400, it's actually 399 whatever 0.99 whatever, doesn't matter, 400 should be good enough for our purposes, purposes, and then this is the start time just because that's where the first seizure starts in that file, I think that file has more seizures than that so we can, now I don't want to overload the server, so it's only displaying whatever up to 60 seconds of data, but then we should be able to scroll through whatever currently being loaded, such a window size, yeah this is sending something, let me clear that terminal, yeah it's sending stuff in, but it's not, it's taking channel one, here we can change channels, this is that same seizure in another channel, here we have 16 of them, so actually we need to add, we can just add all of them, add all of our channels, oh come on, don't do it, land by a lot, surely ShGPD can do a better work, let's see, I'm going to do it manually, right that's right, that's how we do it, github copilot is doing things line by line, this is how it's done, it's actually did all of them, save there, so we should have fresh, yep we have, because the first eight channels, yeah there are 16 channels including zero, so the first eight are on the left side of the head and the second eight are on the right, now this filter order in our html filter order, this default value should be around two for it to work better, a whole spectrum, well the whole spectrum is essentially just the sum of you know all parts, hi-channel eight has this funny, funny business, so this is not published yet, hopefully I'm publishing it today, the whole data viewer is available already in production, yeah this needs improvement, it actually should not be loading like that, it's actually in the scene doing something with the CSS changing colors and things, this is how I wanted it to be to load, yeah that's the channel eight has this funny deep, it's a flatlining clipping signal, I don't know if it's a motion artifact or something, yeah it's that red line there, this one you can group a line by line, it's side by side, so left and right separately, yeah so it's just the viewer and this thing would be, now should be called different name, it's actually add the description to this, right so now load channel, load channel whatever six, linear log, log scale, whole spectrum, yes no, yeah most of what you can see is in delta and there's a bugger all in the other bands, but once seizure comes in you should see more of the other bands going through, yeah so you saw the elevation in theta, so higher frequency, so again this would be whoop, so let's make it log scale frequency, scale option, log should be the default value, log fault, doesn't want to do it, yeah GitHub co-pilot thing, isn't it even, yeah it is running I can see it's doing something, but it's not actually the GitHub co-pilot, can you be at least as good as GPT, well you can try the 3.5 I'm sure it will be able to to do it, but that's how it's done, but show why it's not generating anything and now when we reload page, yeah log is default, so again if it's like linear hit f5 it will add default to log which is better, I want the scroller to work, so we had a prompt for it, I think we already actually edited it before, we just chose to ignore it, yeah let's go back here so we like fork the chat, it's not, no I mean it is present, let's double check, pre-show it's there in the html, yeah it is there, file scroller, what step, yeah I want this step to be, yeah probably want this step to be like 100, let's start with 10 max, why, okay it uses to scroll through the an hour of data, is it, how much data are we loading, we're loading 100 seconds, well we could have could scroll through an hour, modify fetch that render function to scroll through the play button, okay so why don't you actually do this and time it's a scale, why is this different and why are we not taking it from the from the html, that's what this get element does, parse in integer, converting this into integer, so we just do it in the file scroller event, a bit confused, so having trouble with this not fitting into the whole window, this is by the way seizure onset, this is because I can't scroll, it would just add stuff up, and yes I suspect that the theta increase is because of those higher frequency components, the actual spiking during seizure, so if it's now at reaching what's the around 600, as you reduce, as you have less of a seizure, it's going down to like below 200, is it 50 hertz, there should not be 50 hertz in this data by the way, it should be super clean data, because it's recorded straight from the surface of the brain, it's an implant, and hopefully if all these inputs are actually working, don't scroll through the data file scroll, you will need to make adjustments to both the front and the javascript, that's okay, can we read each other, I don't like that response, to integrate the scroll functionality effectively, you will need to modify both the above and the same, a file scroller, use the value, include additional parameters in API request, again that makes sense, starting time based on the scroll position here, that makes a better sense, so fetch data and render, yeah calculate the rest parameters, we need to add start time, okay fetch the data, set the fetch logic, fetch data, okay whatever, now back and modifying the get data in item, in get data, time from the request, okay, already have window size, okay let's pop this in there, just so we have some sort of order, skip rows, calculate the number, to have it already, do I need to change the name or keep the data, okay we're ready, that's the problem, okay so it's a real long file, this should be the default start time duration, but then do we read, we will end up having the read CSV wise, bring the CSV file, we can be inefficient, load the entire data once, slice the memory data based on start time, so what we want to do, yeah we're having the same problem with this file here, because this is not the whole file, instead of repeatedly reading reading the data at once at the start of your flask creation stone memory, it is too large, the data set is too large, you need different strategy, use a database instead of flat like file, yeah don't want to change the file format, not yet, yeah preprocessing CSV into smaller chunks, saving chunks in as a separate file, client style, down sampling, never heard of, can give me more info on the first option, right so instead suggesting to insert the whole file into a table and then connect to the sq lite database and insert the data, I feel like I don't want to do it for now, just because it's working already, but we loaded a database could be nice or later, we did load 100 seconds of data and only displaying 10 seconds by default, we would like to scroll through the 100 seconds at this stage, simply modify the front end logic, it should be as simple as your, so okay let's leave that, make sure it's still running, you can also select a different channel by default, yes 7 has more detail in it to begin with, let's make it 7, we make NL7 default loading the page, it just doesn't want to do this, I show even 3.5 can do it, github copilot cannot, so we're just doing this, check, yep 7 is default, yeah copilot, copilot is gonna hopeless, make this scroller work, page and render function, start time, new parameter, why keep repeating everything I say, a URL, this should be the same, I'm not sure why you're matching it to me, then in flask which is the python script, get data, we extract, yeah do we need to multiply it by no, what sampling rate is 4, sampling rate is already defined as it's definitely not to 50, it's 400, that's correct it's king, start index and index, yes you don't really need the brackets, chgpt and extract segment, but segment is not being used, how do I use segment, so currently we're returning response data, we need to change the response data, okay get data, okay that's the same, fsfs, segment is dead, vg data, still want to use the window size, alright window size was used there, so if I get rid of that channel, yeah we do have channel ready to integer, it's actually not bad, co-pilot, detrain if necessary, response data we have raw signal and here we need a deadline, vg data to list is the same, type scatter, response data, see start time, it's not changing the plot, prepare, let's clear this for a sec, okay we're getting this big fat error, clear again, just click on it once, getting it 500, control shift c, can you explain this error to us, yeah this is, get all mixed up with that


What's up everybody? I'm EvilRabbit and today we are on Assetto. We are on AssettoCorsa here on the Xbox One. Been wanting to get back into Assetto here recently and well, we're going to try and throw ourselves into it. We're heading into an online session right now. We're going to see what kind of doors we can get maybe if we can. We are going to be rocking our M3 E30 drift car on our Logitech G920 and our D-Innovations. 350mm rear hydraulic handbrake, sequential shift mod. We have that all set away. We are set up. We got a switch for tires. Street 90s. There we go. We're going to go send it. Handbrake is working so we are good. And we're going to see how this works. Which way are we going? I don't know which way this guy is going so I was trying to follow this option. So like I said, been wanting to get back into Assetto on the Xbox One and I totally just forgot how to drive in Assetto. As you can see, it's been definitely a minute to foreshore. I think I have to switch my views so much to get to on top of the hood like I like it. We are just going to throw ourselves in here and see how this works. Oh man, that's like drift mods theory and all the crashes that happened. We're going to adjust our volume a little bit here because I feel like my volume of the cars was a little bit too high. So we're going to adjust our volume a smidge down here. There we go. It's still pretty high. All right. So now that everybody wrecked, we're going to find our way back and this is some slides with these people. We see if we can't run this wall line real quick. There we go. So Assetto drifting. Oh, just a tap. So much more different than Horizon and or Forza Motorsport 7, but it is a lot of fun. I just wish I could get to the view I like, but it would just take forever to get to it. So we are just drifting in this cockpit and we will switch up the hood view. I want to try to find out where everybody else went. We're in a random drift lobby. Now I see people. Oh, I see what they're running. They're running that they're running the little little section. Oh geez, that ENI 2 is not going to make that. See if we can jump into here. But on the handbrake, there we go. Slowly getting my Assetto bearings back. Feel a little bit more comfortable in this hood view. The view I do prefer is the view that's on the roof. So I know I probably will be switching into that view soon. Oh, these guys are running a really interesting one. Okay, I've never run this section. Trying to cut the grass, don't hit the ENI 2. Oh, okay. They're running this whole track now. Okay. So I thought we were just running that little back section. Don't hit him. Tanned him with some randoms. Flick it in. Flick it in hard, down shift. I don't know where he went. I feel like he bifted into the wall. Apparently we're leading the train now. It's almost like a drift monster going on right now. See if I can remember the way they were running this. Too much. Too much in the grass. They're all following me though. I can see it. There we go. Assetto drifting is definitely a lot of fun. I would love to get some open lobbies in Assetto going if you guys would like to get some Assetto tandems here on the Xbox. All right. Well, that was something. See if I can't follow the ENI 2. Bulls ENI 2s. Kick it in. Too much. Oh my, don't wreck. I feel like we are literally at a Drift Mutsuri right now in Japan because I've been watching the Mutsuri videos from like Adam L. Z, Little Bite, and all the stuff like that. Some accidents happened in a lot of those cars towards the end. I know Osbo was there too, which is pretty sweet to see Osbo getting some tandems at the Drift Mutsuri, but we're definitely getting this now. I feel like I can be a lot smoother on the wheel, Assetto. Oh, hey, hey, buddy. Because the wheel has a lot more snapback with it. It's like this all the wrong way. I don't know if I hit him or if he hit me or what happened, but we just pretty much wrote off the E30. So we'll see if we can get back into the Drift with this guy. I feel like he's way out there. So I do have a lot of fun in this E30, but I also have a lot of fun in the Toyota Corolla. The 86 is a lot of fun. That one's more got to keep the power up and pretty much stay flat foot a lot of the time. So it is nice to have my full rig working here on Assetto, handbraking, everything. I lost it. I'm going to throw that one out there. So it's kind of cool to be in a lobby with a lot of people that are running good lines and having a lot of fun running. So we're going to see what happens here. We're going to try and follow this Corolla. Hopefully we don't cause the Drift accident. I'll click it that way. I thought he was going to initiate sooner, which sent me into the grass. So we're going to wait it out and wait for these guys to come back out. Oh, that's going his way.  So we're going to try and third person. I know I don't really like third person here in Assetto because the camera's just weird how it follows and chases weird, but we're going to see about drifting in third person just to appease viewing aspects of it. Maybe we will be able to get a little bit better doors in third person, but we will find out. Ow, that dude hurt. So if you guys want to be part of some Assetto lobbies, let me know down in the comment section down below. If you guys want to do some Xbox One Assetto driving, let me know down in the comment section. So I'd like to get some open lobbies going in Assetto, which I feel are a lot easier to do because you can just keep joining in and out. Unlike a Forza lobby where you have to quit the whole thing in order except for the new lobbies and Forza, but this is actually kind of cool because you can just join in and keep it rocking. Just banging second. Oh, too much. A little bit too much on that one. A little too much sauce. So definitely having a lot of fun here in Assetto for the first time being back on. And I think we can go back into hood view. And I don't think there's many many people on Assetto that are really bad at drifting. I mean there's probably some totally understood that. Grabbing some doors with the Corolla right now though. Here we go.  Are we good? Oh, we good until there. I'm gonna have to kind of flip this back. A little clutch feather. Oh, he's in the grass. Got the other E30 following us. We got a little, uh, little train going right now.  So yeah, it's definitely gonna be doing some more Assetto drifting here on the Xbox One.  Ow! All right, well I guess we're probably gonna leave this one this time. See if we can, uh, flip ourselves in. Nice. Too much. Too much sauce. He followed me.   Uh, so, okay. Ow! It's one thing I do notice. Assetto is definitely, uh, plays a little havoc on the wheel. We got a little bit of wobble right now. We're gonna have to definitely get that fixed up, tighten it up. Um, it's man over here trying to throw down. Matt, uh, 3816. He's probably just, uh, trying to, uh, get his bearings. So we're gonna try and do one more tandem line with these guys, but like I said, we're gonna be doing some more Assetto course out here on the channel because I feel like Assetto drifting is just that much more fun. We're gonna try not to do as much of an initiation here. We're gonna just straight line it. Straight line it, cut the grass a little bit to catch up. We got a Corolla stopped in the middle. We just went around him. We good. We definitely good. Don't hit him. Quickie brake grab on that one so I didn't hit him. Here we go. Left foot brake. A30 is just running that E92's door. Oh, a little bit of understeer right there, but we're still good. It's a BMW party going on right now. I know I said one more, but I think we're gonna do one more here just because I'm having way too much fun with this right now. A faint part of the brake. Oh, I'm not gonna make that. I saw him lose it. So I kind of watched out of it and there it goes. So I think that's gonna do it for this episode here on a Zeta Corsa. Oh, a lot of fun getting, throwing myself back into a Zeta. So if you guys want to see more Zeta on the channel, don't forget to tap that like button, subscribe, do appreciate the support. And as always, thank you guys for watching. Follow me on Facebook, Twitch, Twitter, Instagram, all that you found in the description box below. So until next time, I'm EvilRabbit. We're gonna try a really long E-brake grab. And I'm out. Sweet. Got it.


And next up we have Brian Burham, who is going to be talking about the Go Garbage Collector. Ronald Voplas. Hello. Well thank you for coming along so late.  Okay, not too many people. Okay, so I was wondering who would show up to this talk. Anyway, I'm going to talk about tuning the Go Garbage Collector. All of the settings you can use to do that with. That's a joke that nobody got. Okay, we'll get there. So first of all, let me introduce myself. My name is Brian Burham. You can follow me on Twitter and ask any questions you like afterwards that way. I work for a company called Weaveworks. We do DevOps tools, continuous deployment, stuff like that. I like making code go faster. It's like a video game for me. So that's kind of why. That's where I'm coming from when I want to tune the garbage collector. Oh, I need to stay here. I need to not walk. Sorry. I can walk around here? It's too far? Not far.  So the first Unix machines I programmed had four megabytes of RAM. And we had a server with 16. I used to sneak on to the server to do my compiles because I didn't have enough RAM. And fast forward at Weaveworks we run the SAS, this cloud system on Amazon. We had these 32 gig machines a couple of years ago and we prepaid a year. And we spent basically a whole year running out of RAM on 32 gig machines and tuning it. And then finally the prepay ran out and we went to 64 gig machines. I'm certainly much more relaxed now.  These are some slides from the talk I did last year. I might just skip through those in the interests of time. Basically the point I was making is every time you garbage collect it kind of runs all the way through memory in your process. So you have stuff in cache. Can I move the mouse around? Yeah, the cache is over here. So the cache has got stuff in it. And then after the garbage collector runs it's kind of run through your whole memory space looking at stuff and basically emptied your cache. And it slows down your program in ways that you might not expect.  So this is another picture to try and make the same point. Stuff you have on the stack is very easy to clean up. When you finish using something on the stack we just go zip to move the stack pointer. It's all gone. Stuff on the heap. The garbage collector has to go all the way through it looking carefully and saying is this thing still in use? Can we find it from somewhere else? That's my introduction to the theory of garbage collection. So we need to worry about it. It's going on all the time in the go run time. We are impacted by it whether we notice or not. So let's look at the options to tune the garbage collector. These are all the options you get to tune the garbage collector in Java. Okay, they're not all. These are all the ones I could find in like 20 minutes of Googling. Let's look at the list of options you get to tune the garbage collector in go. You ready? There is one option. I signed up to do a 30 minute talk about one option. 25 minutes, okay. Actually the timer is not running. Who knows how long this takes? You can. Good. Okay, so let's look at... I'm going to hopefully do a live demo. If the live demo doesn't work, I have screen captures. So I'm running a client server micro service setup as my demo. The server is a thing called pod info from my colleague Stefan. The client is from Jana Dogen who was here this morning but is not here now. Client is a thing called hey. They just like generates HTTP load. So let me see if I can get my demo going. Okay. So the first setup is a big server process. A big server process that has some kind of large amount of data in memory that basically sits there all the time like a cache of results or some data set that it's processing or something like that. And I have simulated this by... I scrolled it up too far. Yeah, I actually added that option to Stefan's program. I just allocated half a gigabyte of memory just in a byte slice. This I could probably try and make a bit bigger. There you go. So what I want to point out is this uses like garbage collection in action. I'm hitting it with like five requests a second so it's not really doing very much. It's using basically nearly zero CPU. But the memory is going up and up and up and then bang down again, up and up and up, bang down again. Everybody got that? So this is garbage collection in action. You good? Thank you.  It will clean everything up as much as it can. And then the next time it garbage collects will be at twice that value. So I hogged half a gigabyte of memory in my program. My program is not doing anything. I'm returning some strings saying it's alive or something like that. But the program as a whole is using an extra half a gigabyte of memory over and above what I allocated because that's the behavior of the Go garbage collector. So that setting, Go GC, is a percentage. And the default percentage is 100%. So it gets 100% bigger and then it collects. So the way I got to learn about this is actually I found this setting in the Prometheus system. Prometheus is a good example of a program that sits there very large in memory. And the Prometheus authors tuned the Go GC value down. So let's just try and do that. I'm going to put the microphone down and type for a second. Okay, so I'm terminating my server. So I'm going to run the same server. I'm typing one handed so that I would probably use control keys and things.  Oh, I typed.  So let me just control C that and do it again. Thank you very much, Mr. Microphone stand. So I'm running pod info inside a container that has nothing to do with the demo. I'm monitoring it using Prometheus. That again has nothing to do with the demo. And I'm visualizing it using Grafana, which is drawing these charts. Who knew Grafana could do white as well as black? Yeah, there you go. You learned something else. So what I've done, I left the load generator going and I changed Go GC to 50. Right here. Okay. And so what I, it's going to take a few seconds just to flow through on the chart, but what we can see is it's now garbage collecting closer to the kind of baseline, right? And in fact, it should kind of steady out at the 750 level. So this is a trick you can use.  If the situation you're in is your program naturally has a huge amount of memory.  In fact, we've worked runs a hosted Prometheus as a service. And we actually, we have this thing called Cortex, which is like a multi-tenant Prometheus.  We do not want to spend an extra 20 gigabytes of RAM just doing that, just kind of letting the garbage collector chill out. So we use this variable in production tuned down for the processes that have a big stable memory baseload. Okay. And my chart, yeah, my chart's kind of working. I did one earlier. Let me just find that back to the slides. So large stable data set. Yeah.  What's the next one? High GC rate, small heap. Okay. Let's try and emulate that. So shut down that server. Yeah, go on. Just shutting down that server. Do not hog the memory. And we're going to leave Go GC on the default. Okay. And then we were running hay like five a second. I'm going to run, so this command is 10 concurrent threads doing 20 seconds. So 200 a second. It's going to run for two minutes. So let's take a look at the charts. Oops. Let's open that up. Right. So just for clarity, I have totally changed my perspective. The first example was even though I'm running the same program, I'm in a different pretend now. The first case I was pretending I had a program that ran with a really big stable data set. So now I've moved to pretending I'm working with a program that uses very little memory, like something like a reverse proxy. It turns out we have one of them at work as well. And so what we observe, let's rather than let it run the full two minutes, let me put the pre-canned stuff up on the screen. The CPU, sorry, the heap was like tiny, like four megabytes or something like that. And I hit it with these 200 requests a second and it went up to like 10 megabytes. The CPU usage went way up.    So we can go in the opposite direction. We can raise Go GC. We can say, dear Mr.  Just like chill out, man, and use more memory. So this is Go GC equals 200. I could run the live demo, but you'd probably get bored. Go GC equals 200. So now we're letting the program use twice as much heap, right? We can kind of see that sawtooth effect here. It's kind of leveling out at about 10. It's still not using very much more memory. But if you compare it to the previous slide, it's garbage collecting half as often. So like, you know, I told you my life story, my whole machine had four megabytes to begin with. Now we use 32 gig machines or whatever. We can spend more memory than 10 megabytes. So let's set Go GC equals 1,000. There we go. So now we're using, you know, it's a tiny, tiny demo program, but we're using like 30 megabytes of memory here. The Go, this is the point where I ran it. You can barely see that GC rate went to about five or something like that. And the latency is lower. Let me just skip back. Let me use this thing. So that was the original one. The latency was like 10 milliseconds. And the latency just by setting Go GC just to use like 50 meg instead of four. Latency came down like a third. So certainly in my production life, getting your latency down by a third is a pretty damn good result. So that is the second thing you can do with Go GC. So the first thing you can do is set it down. The second thing you can do is set it up. Is there anything else you can do with it, Brian? You have a question? It's a percentage.  The question was what is the unit of Go GC? And it is a percentage of the minimum heap size. So when it garbage collected in this example, it collected all the way down to about four megabytes. Times a thousand percent is 40 megabytes. So that's where it gets up to about here somewhere is 40 megabytes, right? Yeah, so it's a percentage relative to the minimum size. So I'll give you a link at the end. There's a really, really good presentation that goes through the last five-year history of the Go Garbage Collector and all the reasons why they did things and the background and so on. One of their aims is to make the thing kind of self-tuning and self-adaptive. That's why everything is relative. That's why it doesn't look like the Java page. So this is a relative measure, but there we go. So Go GC set it to 10 times the original and my latency went down by third. My CPU usage went down to about two-thirds. The GC rate went down by a factor of 10. So that's a pretty good result. There's another thing. You can kind of see it in this picture as well. When the load went away, we don't actually get all the way up to 40 megabytes, right? And in this example, you can barely see it. This is when it was like ticking over on the 500 meg case. So it turns out there is another setting for the Go Garbage Collector, but it's not a setting that you're allowed to set. The Go Garbage Collector will run every two minutes if it has otherwise not run. So that's useful. If you did something very intensively in your program and then stopped and your program just waited for input, then by the rules of Garbage Collector when you hit a limit, it would never run the Garbage Collector. And so your program would sit there hugging all the memory in your machine. So they run it every two minutes, two times 10 to the 9 nanoseconds, every two minutes. And they will actually free the memory back to the operating system if you're no longer using it in that scenario. So that's this sort of, which I didn't actually know about until I did these slides. I didn't know there was a two-minute max on the Garbage Collector. It is a variable, but it's an unexported variable in the 4,300 line file that I had to read to find it. Okay, one last trick. There is one more thing you can do with Go GC. You can set it to the word off. So why would you do that? You would do that if you had a truly infinite amount of RAM. No, nobody has an infinite amount of RAM. Okay, but it turns out basically there's a certain set of programs that just will terminate before they've used a huge amount of RAM. So let me see. Do I want to do the demo? No, I'm scared. The pre-canned version. So I built the Pod Info program that I'm using for the demo, and it builds in like seven and a third seconds on my laptop. If I turn off Garbage Collection, it builds in five and a half seconds. And this is a four-year-old MacBook, so it certainly doesn't have infinite RAM. Yeah, I think the compilation of that program, which like vendors Kubernetes libraries and stuff like that, it's not a trivial program. The compilation runs in 50 meg of RAM or something like that. It does not need to garbage collect. And so it's a little trick you can try. You can turn off Garbage Collection in your compilations, or if you have some other kind of batch operation written in Go that just runs for a bit and then terminates, you can just turn the Garbage Collector off and you might get a speed benefit or you might get a crash. Now, this is open source, no guarantees. Okay, fantastic picture from Ashley McNamara there. We might get more Go Garbage Collector settings to tweak in the future. We might approach the Java page over time. So there are two that you can read about, clearly talked about.  You know, at some point it goes, bang, this was my life, right? For most of last year, our processes would crash in production. And so just telling the Garbage Collector like, yeah, I love your sawtooth, but just don't go above 20 gigabytes, or whatever number you pick. So what that does is it trades performance for safety, right? Because if you actually need that much memory, your sawtooth is going to get faster and faster and faster until eventually the program does nothing because it's just garbage collecting all the time. So this is in an experimental branch of the Go runtime that I couldn't actually find, but I can read about it and you can Google it, you can find all that stuff. On the other side, there is also, I think, accepted support for a minimum heap size. So this is basically the same thing as I did with setting Go GC very high, saying, look, I want you to use more memory. But it's like a safer way to do it because the multiplier has that dangerous effect that the sawtooth might get out of hand. So Go GC min, I think that will show up. That's a much simpler change to the runtime. So probably show up faster, sooner. Okay, I am done with my talk. Questions? No? Okay, a couple of links. Oh, a question. Yeah, do I run with the mic? Thank you. So what about GC times? Are GC times strictly linearly dependent with the amount of RAM that needs to be wiped or is there a sweet spot between GC times? Okay, so I think you're asking about the time the garbage collector takes to run.  So Go over the last few revisions moved to a largely garbage collecting in the background. So the actual time it stops your program for is under most circumstances, tiny, tiny, tiny. There are edge cases. That whole slide about the cache and so on, garbage collection will slug your program, will really slow it down in ways that are really hard to understand. You know, it's just this fact that it's trolling through everything in your program. So there is no metric. Other than the end result, like my latency went down by a third. So that was the impact that GC was having on my program. There is no measurement of GC time that will add up to a third. And I... So, you know, sorry, but I do this a lot. And that is absolutely my finding. There is no simple relationship between anything and anything. You've got to kind of try the different values and see what comes out. Okay, out of time. Thank you very much.


So this is the Boya BYW-M8 Pro RX-TX for a transmitter that's a body pack, classic body pack, it's got the antenna, it's got adjustable frequencies there that you can flip between and this is the receiver unit, the RX, it is the Boya RX-XLR8 Pro and this is again, there's relatively few of these in the market that are designed just to plug straight into an XLR jack. A Saramonic make one has been more expensive and Sannheiser make one that's a lot more expensive. Alright so this is after finally getting it to go into the port and this isn't the way that I would probably set it up but I've got my shock and microphone on it. Surprisingly this actually doesn't get into my frame line but a more logical place to be what would be to have the transmitter facing up and because it's rotatable you can literally just rotate this even as it's connected along the... Hi guys welcome back to my youtube channel this is Daniel Rosel here this is the Boya W-M8 wireless system it's one of pretty few wireless systems on the market that have a XLR plug and receiver so if you have something like a pro camcorder I'm recording this on the Canon XA40 the receiver just plugs straight in and that's actually really a big ergonomic advantage over something like the road wireless go-to that you're kind of looking for a place to you know attach the receiver. So this is me in a public park just want to say a note about the wind conditions we're in the kind of least windy part of the park but it is still a little bit windy I'm currently only about one meter from the microphone so there's very very little range here nevertheless and it's not the built-in lav mic I'm using my own lavalier microphone we're going to do a range test but before we do that I'm going to read a little excerpt here from the wonderful book Impact by Sir Ronald Cohn and we're going to be I'm going to be reading the same text on all these microphone tests just to keep it just to keep it similar so we cannot change the world by throwing more money at old concepts than no longer work we need new concepts and approaches new words are coined to capture new ideas which is as true of economics as in the world of scientific discovery so that's the pickup quality and audio quality very close range on the Boya WM8 wireless system okay this is the Boya B YWM8 wireless system plug into the XLR and we're doing a range test here so I'm starting in about three meters from the camera walking back all the way towards five I'm going to read the spine of Impact by Sir Ronald Cohn what kind of world do we live in so we're at a good probably 10 or 15 meters here I'm going to go all the way back to the wall which is about 20 and vision a world where inequality shrinking where natural resources are regenerated and people can benefit from shared prosperity testimonials a must-read book from the godfather of impact investing according to Forbes Paul Romer who won the Nobel Prize in economics in 2018 said that impact is a new and very important idea to reshape and save our economic system and now we're all the way almost back to where we started here at about five meters so that was the range test on the this wireless system


Internal Revenue Service IRS Tax News! IRS reminds taxpayers they must check a box on Form 1040, 1040SR or 1040NR on Virtual Currency Transactions for 2021. Uh oh, that doesn't sound good. Did you use Virtual Currency last year? Did you? You will be identified and put on a list. But don't worry, it'll be a good list. Not in any case, first an attempt at a joke, I apologize in advance. If we assume P stands for the President being honest about the causes of our inflation problem, getting prices down will be as difficult as hearing a pterodactyl urinate. Due to the silent P, luckily we do have other senses making us aware of the sticky hot wet mess we're experiencing. Wouldn't the world be a better place without dang inflation, pterodactyls overhead, and silent P? Let's face it. The President is somewhat of a mean old dinosaur these days. I think he even hates Christmas, mainly because every time he sees Santa's sleigh coming down to land on someone's roof, he trembles in fear at Santa's flying reindeer. The one named Comet? Apparently we can't spare many weapons for Ukraine because all our national defenses have either been recalibrated to shoot down Santa or left in Afghanistan. We especially need those fighters jets as an offensive weapon against Santa and his Comet. But luckily we may be able to negotiate back some of our weapons from Afghanistan because we've re-implemented the bold strategy of negotiating with terrorists and tyrants again. Basically to beg for oil of course. Because we refuse to drill oil from this resource rich country of ours or do business with our friendly neighbors in Canada. You see, having the only large country in the world that actually cares about global warming, the energy dependent on terrorists and terrorists who do not give one cold and released carbon emission about global warming is how the world will solve global warming. IR2022-61, March 18, 2022 Washington. The IRS reminds taxpayers that there is a virtual currency question at the top of Form 1040, Form 1040SR, and Form 1040NR. It asks, quote, at any time during 2001, did you receive, sell, exchange, or otherwise dispose of any financial interest in any virtual currency? End quote. Did you? We'd like that question answered, por favor, if you would. All taxpayers filing Form 1040, Form 1040SR, and Form 1040NR must check one box answering either quote yes and quote or no to virtual currency question. The question must be answered by all taxpayers, not just taxpayers who engaged in a transaction involving virtual currency in 2021. So if you didn't involve yourself in virtual currency, we still want you to actively participate and give us the yes or the no, the yay or the nay so that we can properly categorize this important information so that just for, you know, just so we know, just so we have a list, just to have it. So when taxpayers can check no, taxpayers who merely own virtual currency at the end of time in 2021 can check the no box when they have not engaged in any transactions involving virtual currency during the year or their activities were limited to holding virtual currency in their own wallet or account, transferring virtual currency between own wallets or accounts, purchasing virtual currency using real currency, including purchases using real currency, electronic platforms such as PayPal and Venmo engaging in a combination of holding, transferring or purchasing virtual currency as described above. So obviously they're concerned with the virtual currency because it's something that they don't kind of have a strangle hold on at this point in time with regards to reporting requirements. It's kind of like cash. Obviously the government tries to kind of eliminate cash. They kind of don't really like cash based businesses. So like things like restaurants, nail salons, you know, haircut salons and stuff like that are things that traditionally the IRS doesn't really like because they're cash based businesses and the customer is not a business. So you can't really force the person paying to give a 1099, which again, I have a theory that that's kind of why they crack down on those kind of businesses during the COVID thing. It's not really about, you know, they're just like, this is our chance to crack down on those cash based business. But in any case, maybe that's, maybe that's just not, that's just a conspiracy. But I kind of have, I have my suspicions, but obviously the virtual currency is another kind of area that now they want to make sure that they could get some reporting requirements on. And so that's really what they're looking into. Now if you're looking at, you're using some of these kind of platforms like a PayPal or Venmo, just to facilitate the transactions, you would think that's not exactly the type of thing that they're really kind of trying to crack down on. They're trying to look at people who are having exchanges in virtual currency and possibly having gains and loss due to the swings in virtual currency. So once again, let's look at them again, holding virtual currency in their own wallet or account. Let's see this one, taxpayers who merely own virtual currency at any time in 2021 can check no. So when can I check no? And if you check no, that means you're not on the IRS's list or whatever, whatever this list is that they're building. When they have not engaged in any transactions involving virtual currency during the year or other activities were limited to holding virtual, virtual currency in the wallet. So if you're just holding onto it and you haven't like sold it, then you don't really have a, you don't have a gain on it. And so, so they might, that might be not something that they're concerned with transferring virtual currency between their own wallets. So if it goes from one of your own wallets to another of your own wallets, again, you're not really exchanging it and having a gain or loss or that kind of activity on it. Purchasing virtual currency and using real currency, including purchasing, using real currency, electronic platforms such as PayPal or Venmo. So on the purchasing side of things, you may not have had gains or losses and so on on the purchasing side. It's when you basically start exchanging, you would think or paying for things and virtual currency where things get a little dicey in terms of gains and losses and whatnot, engaging in a combination of holding, transfer and purchasing virtual currency as described above. So then those mixing and matching of those things above. When taxpayers must check yes, the list below covers the most common transactions in virtual currency that require checking the yes box. So the receipt of virtual currency as a payment for goods or services provided. So now if you're going to be accepting virtual currency as payment, then the IRS is going to be is looking into that more because again, those are transactions that they don't have as much of a lockdown in terms of how to regulate. And then once you actually spend the virtual currency, there could be a question in terms of did the virtual currency go up or down in value since you purchased it? Should you be recording it like a gain or loss on the value of the fluctuation in the currency? For example, the receipt of transfer of virtual currency for free without providing any consideration that does not qualify as a bonafide gift. The receipt of new virtual currency as a result of mining and staking activities. So that one, you would think that they would probably try to try to charge you income on that, right? Because you're mining for virtual currency. So you would think that they would try to say, hey, that's work. We want a share that. So the receipt of virtual currency as a result of a hard fork and exchange of virtual currencies for property goods or services. So again, if you're spending the virtual currency directly on goods or services, then you're using the currency at its current market value. And you might have a gain or loss if they're going to try it. And exchange trader virtual currency for another virtual currency. So now, again, you're exchanging virtual currencies on the market. Could be a gain or loss kind of thing in that you would think. A sale of virtual currency. So if you sell the virtual currency, then the IRS thinks of it kind of like stocks and bonds that you would have to report the gain on the currency exchange. Only other disposition of financial interest in virtual currency. Any other disposition of financial interest in virtual currency. So if a taxpayer disposed of any virtual currency that was held as a capital asset through a sale, exchange, or transfer, they must check yes and use form 8, 9, 4, 9 to figure their capital gain or loss and report it on schedule D. So the IRS basically thinks of the virtual currency kind of like the stocks and bonds. So that every time when you buy it, not really an issue, but then the value of the currency is going to fluctuate greatly. And then when you sell it, you might have kind of a gain or loss on it. And that's when the IRS wants to step in. And obviously, if you don't sell it, but you simply exchange it for goods and services, you have the same kind of thing because now you're purchasing something at the current market value of the virtual currency, you would think, and once again, the IRS is going to say, well, then you would think they would try to get the gain or loss, but basically on the purchase of that. So it gets complicated in that sense. And again, there's kind of debates in terms of how complicated is the government trying to make the use of virtual currency or not? Is the government trying to make it a virtual currency be a viable option that kind of people can use for various reasons or are they actively downplaying or making it difficult to make exchanges in virtual currencies to try to reserve other currencies, fiat currencies as the dominant currencies? So there'll be debate on that as all this stuff unfolds. So if a taxpayer received any virtual currency as compensation for services or disposed of any virtual currency that they held for sale to customers in a trade or business, they must report the income as they would report other income of the same type. For example, W2 wages or form 1040, 1040 SR, 1040 NR, line one or inventory or services from schedule C, schedule one. So if you've got paid in virtual currency, just like if you got paid in a barter or something like that of trade, then it's still income and the IRS wants their cut of it. So for more information, see page 17 of the 2021 form 1040 instructions and visit virtual currency for general information on virtual currency and other related resources. There's links to those items here and there'll be a link to this in the description.


Hello, my name is Taylor Mac, I'm interviewing a lot of HARP artists, that's the Hear Art Center resident artist program, and talking to them about their projects, we're doing it for HowlRound, and if you don't know about HARP, HARP is this wonderful program that here has had for many years, I started off at the program, in the program, and they give you space, they give you many years to workshop your piece, many opportunities, the understanding was that artists need time to make their stuff, especially generating artists, and time to meditate on what they're doing, and time with audiences, so instead of that kind of three week regional theater, get it in and get it out, kind of process, those of us who are making our own work need a different kind of process. So here came around and said, well, here's an organization that's gonna help you do that, and you can model it however you want to, and they've been doing really good for many years, and these are two of the HARP artists that are making a piece, and I'm gonna let you introduce yourselves, and also introduce your piece, why don't we do it that way? Okay, yeah, so I start, so I'm Sachiho Takahashi, and then I'm a composer and then for both for sound and visual. Nugammin? My name is Nugammin, I'm a musician, I play Korean traditional windy instruments, so I studied traditional music in Korea, and I'm exploring more like new music, experimental sounds, and I started to collaborate with Sachiho last year during pandemic, so we are very happy to be part of, you know, here Artist Residence program, but it's been a challenge because we were not, yeah, able to access the plays, and we were not actually, you know, meet in person, so we were doing kind of, you know, virtual collaborations, and we filmed at the theater at the moment for, you know, presentation last year, November, but it was really great opportunity for us to be able to, you know, collaborate with here, our center. And let me just ask about your piece you're making, you're making a, well, how would you describe it, a soundscape? I know it's about emotions, and why don't you give us a little information about it? Okay, so we are primarily calling it like music theater, but it's not really traditional sense that we are both musicians, so like our starting point is music, and also like kind of we are from Asia, and sort of the idea of this project is kind of digging out those emotional heritage from the traditional sound and storytelling, like music, and kind of sort of using those material to create a contemporary take on on the emotions. But mainly it's sound, but actually the other aspect is we have visual components to it, and we have a live projection, which I have been doing for a long time. So when you say live projection, yeah, describe that, what is that? So live projection is basically, I have been developing this art form called Microscopic Live Cinema Theater, for kind of more than 10 years.  Yeah, sort of like a live animation, if it's actually kind of like I'm sort of in the category of the puppetry as well, New York puppetry community, just because I manipulate objects, but so the thing is, it's done in live, and then also the kind of the things I do is a magnification of the small object, small material, so like what is my material, some, if you go very deep into this kind of the details of the object, somehow I found some emotion in there sometimes. And then that was kind of like also the, how I came to this project. So okay, so like there's a sound component, because my musician, I play instrument as well, traditional instrument, as well as I create electro-acoustic sound trucks. Yeah, I wanted to ask you about that too, but finish your thought. Okay, so the first of all, okay, so this project is music, live music, and live visuals that I manipulate this thing. And also we are going to have some sort of object manipulation in space. So it's much kind of a bigger, actual object moving in the space or somehow doing something in the space. We will be working with some puppeteers. And then also the other component we are thinking is lighting. Because lighting, traditionally, I don't know, but it's kind of in the theater, usually it's kind of like a, okay, so story and additional lighting. But lighting could be a very big component to express some sort of emotion. Yeah, have you talked to Shia, Maria? No. Oh, he's also a harp artist. Lame is their company and he designs and they use light in their shows as a character, really, or as a scene partner. They're very, they think of the lighting. I think I've heard Yahema describe it as a, as composition, that the lighting is part of the composition. Yeah, yeah, yeah, yeah. Yeah, it's, yeah. We're having a conversation with him. He's quite a shirt. Exactly, it's kind of. And also from Japan. Yeah, I know them. Yeah, Himeera and Shige. Yeah, yes. So the lighting to be almost like, yeah, the same as the music component or visual component and then lighting could be mingled to become one composition, basically. And then the other thing is we won't probably using so much language in this piece. So it's sort of abstract, but it's not entirely like a live concert because we will have some sort of abstract storytelling, kind of abstract narrative, I don't know what to call. So there's some sort of trajectory of the story in the piece, but told through all those sound, visual and object movement and lighting. And the songs and the songs themselves are, I mean, please feel free to jump in here. The songs are taken, I know that they're original songs, but they're working off of themes of traditional songs from Japan or Korea, or a mixture of. Yes, actually, we tried to play some traditional song and also we tried to create new song based on storytelling, traditional storytelling. So we had a presentation last year and I brought one Korean traditional tune that I played with my pity, which is bamboo flute, and Sachiou played Japanese traditional storytelling song piece, very traditional piece. And then we actually created one new song based on traditional Korean storytelling, which is kind of a legend and mysterious story. And that has lyrics and dance piece. But we transformed totally, you know, new way with electro-acoustic sound and some competition. So the song is combined, you know, between competition, improvisation and electro-acoustic sound, you know, so it's a whole different different shape. But we used some idea from the traditional storytelling because it is a very interesting way to explore human emotion. If you see, you know, old story from Japan and Korea, you can explore something new, new expression or a new way of emotion, it's pretty new. So that's the song. And has that been a challenge to combine the two cultures? And then in your thinking of how to present it to such a multifaceted culture that the U.S. has? Is that the Japanese culture and Korean culture and squished them together and then presented to even more multifaceted culture?  So it's kind of interesting thing. It's like I met Gamin a few years ago and we started to just, you know, start some kind of like small collaborations. And although we are from, okay, Asia, but it's, of course, it's kind of different, we don't, you know, one country is very different from the other. And then somehow I think actually we are, what we have been doing is like we get to know each other through music, you know, what she plays and what I play. It's kind of like a conversation through art and music. And then I started to understand what's similar and sorry, there's some kind of construction going on. Don't worry about it. What's similar and what's different. And then, you know, ultimately, okay, we can emphasize the differences too, but also there are a lot of like common ground, you know, we are human. And then also, could you describe a couple of the common grounds? Like, yeah, basically, I think actually, you know, it's like, with Gamin and me, like certain actually melodic like structure or like to express certain certain feeling has a similarity because like some of the Japanese traditional music like also came from buyer, you know, China and Korea. So, and then it's now, you know, went into this pop music and then more contemporary music, but it's kind of connected through this kind of content. So it's actually element wise, there are like some of the sounds has very kind of similarity to it, a chord, some similarity to it. So like for this, like, so in some sense, actually, like if we kind of like followed all those routes, maybe we do it also even like it can go to like Europe or, you know, kind of then, you know, it's kind of it's not not not that like disconnected in some sense, even though like for the Western era, like sounds could be boring, but some of the maybe folk songs, like even some some sort of more older, like natives, maybe songs or something like could have like a similarity to it too. So it's I think it's, I don't know, just, yeah, so I think the one addition is that one thing I see like me and the guy, me having come on is that we are, we both play traditional instruments and traditional music, but we are contemporary artists, musicians, so it's like always kind of our interest is almost discovering this new material in all the things so that we can kind of use it for the new creation. Yeah, that's what most that's what a lot of us are doing, a lot of us are just taking all things and, you know, trying to apply them to our our current circumstance. So in a sense, it's actually not that weird and then it doesn't seem weird at all. It seems wonderful. I've listened to some of it. It's like goes right to your bones, I mean, right to your heart too.  And so the question becomes, is it about the emotion or is it unearthing the emotion in the audience or in the players or or some kind of combination of all of that together? I mean, I think we we are kind of, you know, taking journey, emotion. So when we play the music, we we we took some traditional story. So there is a character in the story. So we we we put some emotion.  And, you know, we we we kind of imagine, you know, the feeling and emotion and we take journey through those characters. And also, I think we when we when we imagine those, you know, character emotion, we also put our emotion, you know, how how would I fear, you know, how would I express those feelings. So that is probably mixed. The original story and our emotion, like a reflection. And that come through some new language. We we play it like, you know, some contemporary sound with electro acoustic, you know, so it's come through new, new, new material, new sound, and that also give audiences to take a journey, their own journey. So they can I we expect audiences. It's experience or they take a journey with their own emotion. So you're not telling them. And now we're playing happiness. Well, you're not saying that you're letting them experience it if they experience it. Yeah, right. Yeah. And OK, now talk to me about electro acoustic. What is electro acoustic? It sounds right on my alley. Electro acoustic music is actually a genre of music. So it's it's I'm not really making the things up. Yeah, yeah, yeah, yeah, I just never paid attention to it. So it's electric. You probably know more like electro music, right? It's it's kind of digital, you know, sort of processed sound created by mainly computation or like synthesizer or something. Those are electro music. Electro acoustic music has a little bit of, OK, acoustic in it. And historically, it's it's kind of like went back to like a music concrete, so concrete like a concrete music. So like this kind of tradition. So like a lot of things that it's, you know, sorry, like I'm doing the next lecture of this. But so idea of this is so. Before, like a music concrete, basically the the vocabulary of the music was, you know, instrument or voice or like those kind of things was the source of the musical material. But the music concrete basically made the, you know, like a sound like this into the vocabulary of the music. So you you record it, record the different sound in the world. And then you can use those material as a as a part of your musical composition. And then we like electro acoustic music also, you know, it's it's really everybody is doing different things. But it's kind of you process those sound, natural sound. Natural sound is almost like actually natural sounds or has a shape. In this kind of thing, like it's like a sculpting the sound. Yeah, you know, yeah. But then you play, but then you play, you'll play your your instruments along with it. So you'll play these live with the electro acoustic. Right, right. So what I did, what we did for the like a work in progress presentation, our duo that I think we are going to show later is that we recorded like the domains, like instrument sound, my instrument sound. And I processed it to create a new layer of the sound track. So as a sound material, it's actually kind of the same force, but almost creating the kind of contemporary layer to to it. And then creating those it's it's quite I don't know, interesting things we can do with those technique.  But you can create those the mass of the sound or, you know, kind of very effective, like a vocabulary of the music to create some sort of like, yeah, emotional thing without actually really or just couldn't be purely like a sound, but yeah, and when you're making both of you, when you're making your music and in process with this work, is there an intention for I always kind of talking about it in terms of are you are you intending to or how are you intending to care for the audience or do you not care? Are you just making what you want to make and the audience experiences that how they they make it, how they experience it? So it's a it's a question I think is interesting for a lot of people who are working outside of commercial commercial theater and commercial music is is what's the intention behind it? And and yeah, what are the what are the what drives you to explore what you're exploring? I guess is another way of saying it. Yeah, because when we started to create this project, we were interested in human emotion, but the way of expression is so different. You know, depending on culture, depending on personality, depending on character or what, right?  In culturally, you know, there are different different structure to, you know, express some feeling or, you know. So we were very much curious about, you know, those different different status, different emotion expression.   Yeah, yeah. So you do, you said you have a goal for your audience, even if it's not that they experience the exact same journey together. You do want them to go through. Yeah. So it's not just you're not just chasing your your your own kind of taste, I guess. No, it's not. It's I would say it's, you know, like, if you have very well composed, very well designed, like a music album or something, you go through the sort of experience, like, you know, if you hear from the first to the end. And then but that's like a kind of the some sort of taste of the artist or like something that they maybe want to come through, like through this album. But actually, you don't really maybe, maybe everybody has a different, different thing, different experience from this thing, but this kind of guided sort of like a guided journey rather than the end of the journey. So like, yeah, we do have some something that we are doing that we will know, but we might not explain it like too much in like beforehand, so that open enough that the people can can enjoy their own journey, but also guide it into the it's not really like, you know, you are going to the sea or sky, okay, we are going to the sky, but like from there, you know, this kind of like, but I think we will have a pretty kind of clear direction that you are you are free to you know, like wander around there. That's kind of your style. Yeah. And at what point you've been working on it for a year now, but COVID is kind of interrupted that. Is that true? That's that's the point in your process? Yes. Yeah. And so and when do you think do you have any kind of sense of when you're going to actually do it?  And yeah, you're even with process, better or more materials. So this is our journey to explore and and we're enjoying process, you know, how we dream and how we, you know, collaborate and how we're gonna, you know, bring other material to this project. So this is like long, long process. Yeah. It's a question I've asked a lot of the artists is how much of process is actually the art for you? Or how you know, that is the process part of the art, not just not just because you have to do it in order to make the piece, but is it actually getting together and working as that also the art? And and even playing in the room. It is, I imagine that there's a lot of room for variation every time you play. Is that true? Yes. Oh, yeah. Yes. Yes. Because we started to improvise very beginning. And then we put some composition. So whenever we played, we have different, different sense, different sounds. Yeah. And yeah, that's very interesting part, we can, you know, variate many different ways. It's a fun part of the heart program, I think, is that people can come and see the process, which then becomes part of the art of their experience of the piece, you know, they can come multiple times over many years to see a work be created. And so in that sense, they end up becoming a collaborator in the creation of the piece. It's a fascinating way to work. I want to ask you before we go, just, is there anything that you need right now from the larger community? What do you do? Do you need money? Do you need time rehearsal space care? Do you need attention? Do you need? Do you need stories? Do you need people to? I don't know. Do you need people to bring you flowers? What do you need from the larger community? Um, well, yeah, all of them could be really nice. Yeah, definitely. I think actually, yeah, just like other students, like when when question that I heard something like 2024, like, because of the COVID, it's kind of a little bit of, so I don't know, maybe 2023, 2024, but it's, yeah, that just means there's a lot of time for everyone to check in with what you're making. And then every every, like so much time for people to get interested.  But it's more of the things I think our interest here is kind of through this project, like we want to meet people. You know, like, both of us are relatively new to New York City or US. So yeah, part of this our hope through this project is like, you know, creating some community. Yeah, we can share like a background and then also creating some new things, collaborating with some other artists and yeah, I mean, we have we have so much theater and I guess what they call new music in in New York City. And yet it feels like we're in real need of what you both are bringing to the to this. We need we need different sounds and different perspectives. Can I ask one thing to you? Yeah, yeah, please. Because like, I actually never had a chance to saw you're working live. Yeah, I'm looking for I can be like looking forward to the next, you know, live occasion. But I watched your videos. And then you want to work always like, kind of like outside of the box. Right? Yeah, for the most part. Yeah, there's always an element that's outside the box. Sort of actually kind of like, I want to know how sort of like you because you have a you have a heteronym, don't you? I mean, do you know what I just learned this phrase the other day, I guess it's been around for a while and I didn't know it. It's called a heteronym, which is a kind of an alternative personality who you know, makes art. And you have one, don't you? But you have a another performance name that you go by? Oh, yeah, that's when I perform traditional Japanese storytelling, like a scene I will see, like I have a stage name. Yeah. Yeah, yeah, yeah. Yeah. Yeah. And why did you choose a performance name for that for that type of work? Oh, those are like, it's a traditional work. So like, I basically, my master gave me this name. So it's really, yes, it's that kind of stuff. So it's Okamoto school is the is traditional storytelling school.  No, my drag name. But but could be sorry, like there's some yeah. Yeah, so but it's kind of interesting to have like alternative like personality because yeah, I do have it. Yes. Yeah. But what I was kind of like interested in is like, yeah, just kind of the like the way that you you you you sort of like break out from the from the norm. And then something that we were trying to do in some sense. So kind of well, I think you've already done it. I think you've already done it by coming to New York City.  And so in some ways, you are already out of the norm. And that is thrilling and exciting.   We just I don't really think of myself as experimental. I think I'm just taking parts of culture that most people aren't used to seeing and bringing it to them. I think that's kind of more what I did. And just audience photos, you I mean, just that's how what's happening now. Yeah, I always kind of feel like I have to start over with every project. But I don't know.  Is that true? Oh, yeah, I actually was supposed to perform at Carnegie Hall last year, March. Oh, no, I got canceled. You got canceled. We never know where it's going to happen again. It's very disappointing. Yeah, I'm so sorry. Well, it's going to happen again. Yeah. Yeah, I love the book. Yeah, how that play and actually I'm not so sorry because I want to come see you. Yeah, I'm assuming it was the smallest space or was it the big hall? Were you going to perform in, you know, which theater? Oh, Duncan. Yeah, yeah, yeah, yeah, it's viewed the acoustics are extraordinary in there. Well, next time. Definitely. Yeah, so I just want to thank you both for talking. And is there anything else you'd like to say about the piece or share or anything like that? Yeah, no, thank you so much for having us. Yeah. And so we're gonna cut to a work sample of work in progress that they've shown that they made a little video of and so we'll cut to that. And thank you all very much for tuning in. Thank you so much. Bye bye.