Believe it or not, my hair actually used to be bigger when I was a kid. Deciding when I was too old and needed to cut it was kind of a youth-frode dilemma. First, a quick disclaimer. This has been a favorite topic of philosophers since the beginning of written philosophy. I'm going to be focusing on a very small slice of a very big and complicated picture. I'm making literal volumes of stuff for time, so please, if you have any interest in any of the subject material, check the description for links. A few weeks ago, there was some controversy surrounding Phil Robertson, who's apparently famous, or maybe his beard is. I don't watch a lot of TV. Robertson hypothesized a scenario where an atheist family is tortured and killed while lamenting that there's no moral code by which they could describe their assailants as being wrong. Although his graphically violent descriptions were disturbing on many levels, Robertson's basic idea about the nature of morality and how it relates to religion is actually fairly common. Many religious people believe that morality can only be justified by some sort of supernatural authority like a deity, and therefore anyone who doesn't believe in such a deity must not believe in right and wrong. The thing is, there's a really complicated network of possible beliefs about what morals are, where they come from, whether or not they actually mean or express anything, just a nightmarishly complex punnett square of possibilities for how the concepts of right and wrong actually work. And these are just general categories for potentially very nuanced ideas about the nature of morality or metaethics. What sort of actions are actually right or wrong is several thousand more cans of worms. However, there is a tentative line that we can carefully draw through this mess between two general positions, moral realism and moral anti-realism. Moral realists believe in moral facts, principles about morality like stealing is bad or charity is good that can be true or false. Moral realists also generally believe that moral facts are both objective and universal, that is they apply to everybody equally and their truth doesn't depend on who's thinking about them, the way that favoritized cream flavor or musical tastes do. Many theistic people are moral realists as they believe that some deity dictates a particular sort of human behavior and that objective moral facts can be known from those dictates. Like the god Ahura Mazda tells Zoroaster that cows are sacred, so protecting cows is a good behavior for everyone everywhere and hurting cows is evil. There's still a question of whether it's good just because Ahura Mazda says it's good or if it's good according to some set of rules which only Ahura Mazda can know, but either way there's this idea that morality is derived from what gods tell you to do. However, believing in a god isn't a necessary prerequisite for moral realism. Someone can believe in objective universal moral truths without necessarily needing them to be granted authority or translated by some sort of deity, transcendent moral principles, transcendent beings, you can believe in either one without the other. In that sense, Robertson's totally wrong. There's no reason an atheist can't be a moral realist and many of them are. Some atheists believe that moral principles are granted the weight of authority by being evolutionarily advantageous or by being logically self-consistent or any number of other things. On the other side of this divide are moral anti-realists who see some sort of problem with the moral realist position. Maybe moral facts don't exist or maybe they're not objective or maybe when people express moral principles they're just saying how they feel. Given the way that most people think and talk about morality, Robertson's bloody criticism of moral anti-realism might seem kind of justified at first. If someone didn't believe in certain facts about good or evil which could be applied to all people everywhere, it might seem like the only other option would be anything goes. But we don't get licensed to dismiss a possibility just because we don't like what it might mean if it were true, like global warming can't exist because I'd have to sell my big truck. So let's look at some arguments supporting the idea that maybe the way that people think and talk about morality is wrong, also known as moral error theory. First, if moral facts do exist, they don't seem to exist in the same way that facts about chairs or geese exist. For one thing, even if moral principles are universal, they don't seem to have any measurable effect on anything besides human feelings and behavior. Like, statistically, natural disasters don't tend to spare innocent people or target evil ones, even though most would agree that they ought to. If moral properties do exist, they exist in some sort of weird way that they're invisible to everything except a supposed moral intuition that only people have, a sort of instinct or ESP about what's right or wrong. There's also a huge problem of inconsistency in which moral principles people think are supposedly universal and which ones are just quite idiosyncrasies of culture. Like, people from different cultures or different time periods frequently disagree vigorously about supposedly indisputable moral facts from polygamy to infanticide. If moral principles were universal and accessible by everyone, you'd expect a general consensus about what's right, what's wrong, and how much, especially on the big stuff. Yes, there are similarities in morality across various cultures, but there's also a whole lot of stuff like slavery, which has enjoyed immense popularity among many civilizations, although we kind of tend to think that it's not cool nowadays. If moral facts are objective, that implies that there's a whole lot of people who aren't in touch with them, or are assigning their personal preferences the title of moral facts to lend them an air of universality. After all, it sounds better to say that thing is universally wrong than, hey, I think that that's wrong. It might be possible that all supposed moral facts are invented that way, that they're simply strong preferences shaped by culture which people decide everyone everywhere ought to obey. Like, maybe murder is wrong in more or less the same way that showing your ankles used to be wrong or wearing socks with sandals is wrong. That might be terrifying for people used to thinking about moral principles as carrying the weight of universal truth, but even if they're not facts of the universe, that doesn't mean that they aren't important, and it doesn't mean that we can't or shouldn't enforce them. We've covered the distinction between universality and importance before. Even if morals aren't universal, that doesn't mean that the only other option is, no raping, that's just like your opinion, man. I value kindness, honesty, all sorts of things. Just because I can't demand that other people value those things in exactly the same way, doesn't make them any less meaningful for me. And if enough people value the same things, like safety or equality, they might come together and use their collective power to enforce those values on others. Creating laws, hiring policemen, punishing criminals, all these actions still make sense even if morality is all in people's heads. Honestly, to me, that kind of seems how the world historically works. A bunch of people have different ideas about right or wrong, which are mostly governed by their culture and upbringing, and if enough of them agree, then they compel others to obey those morals. Most of the discussion about morality makes it sound as though it's woven into the fabric of the universe, but it wouldn't really be the end of the world if it wasn't. Anyways, there are fantastic arguments for both moral realism and moral anti-realism.  But it's clear that Robertson's pretty ignorant about metaethics, even with that beard. Do you think that moral statements express universal facts? Please leave a comment below and let me know what you think. Thank you very much for watching. Don't forget to blah blah subscribe, blah share, and don't stop thunking.


What's up everybody, welcome to HotMakes right here in HotMakes HotMakes Live, all of the things. My name's Jim, also known as Nerdy J from the Edge of Tech. This, my friends, is Caleb, producer extraordinaire. How you doing Caleb? Director today as well, I was working on video projects today and, huh? Is director like higher than producer? Rector, anyway, no, yes, I'm producer. Sorry, I was waiting for you to notice what I did. No, yes, no, yeah. No, yeah, no, yeah, no, yeah. Yeah, yeah. Yeah, I'm doing pretty good, how are you?  Moving on. And you said Rector. Rector. Covered up, yeah. Barely four, okay. Well, welcome. I'm good, man, it's been a week. It's been another fun week and we're back. So that's what's happening. Certainly been one of the weeks of 2023. It's a one week, yeah. Director is only higher than producer in Colorado. Ah, that's a good one. That was a good one. All right. That guy, 3D prints, just got my first 3D printer on Thursday and I've been using it so much thanks to your How to Start 3D Printing video to help me a lot. Nice. That is awesome. Well, I'm hoping you're loving it and welcome to the world of 3D printing. So if that guy just got his 3D printer on Thursday, he was only officially that guy 3D prints on Thursday. There you go. Before that, he was that guy didn't 3D print yet. Before that, he was just that guy. Or that guy prints. Maybe he prints other things. There you go. Maybe he prints stuff or something. Yeah, I got an inkjet HP back here. Well, welcome and welcome to the community. I hope you love it and I hope you're pumping out some awesome stuff. I'm looking around on my desk. I was like, I said, pumping out some awesome stuff. I don't have anything awesome to show on my desk right now. So there's that. Speaking of pumping out awesome stuff, quick side notes. Huge thank you to Joel Telling. He reached out. I made that post on Twitter saying, hey, I'm still working on fixing my anti-cubic machines, but both the washing cure that you had sent and the actual resin printer haven't been working since the storm and I'm pretty sure it's shorting. There were shorts on the board due to water damage and then there's some other broken components due to one of them falling and all this stuff. So I was like, man, anti-cubic is great. They're sending me replacement parts, but there's always something new to fix and it's just taking forever and they're in China. So it takes like up to a month sometimes to actually get the replacement parts. They're not doing anything wrong. I was just like, I kind of want to get up and running with resin printing again. And Joel was like, I got you. So he, oh, hang on. Well, I don't know what just happened. Oh, I see a window opened or something. That was awesome. I got all my nice fancy lighting set up here and the lights are motion and sound detected in this office. And you moved your arms. You were like, and the lights came on. There's like a few foot.  So I got to be careful. Hey, Google, turn lights on. No, no, no. I'm wearing. Oh, every. Hey, Jim, it's a little dark in there. It's a little dark. Little dark. Yeah. Do you have your headphones in? Yeah, I have my headphones in. Oh, dang it. I was going to tell Google to do things. See this? Nothing back there now, everybody. What happened? I told Google to turn the lights off and turned all of them off. Except for this one. I don't have that one on a switch yet. That was phenomenal. All right, we got lots of cool stuff. Yeah. Links in the description below if you want to check out the hot makes this week. Episode 150. 150, man. 150. And I came on on what? Like 32, I think. I've been around for a while on here and you've been here for 30 some odd episodes before that. So you're on episode like 200 something. I am. I did 32 episodes before Hot Makes started of the different show. Real quick, Ethan's dad, Marcus says, refresh if you don't see the video. Hey, hopefully you see the video. I'm not sure what's up there, but do that, refresh and all that. Refresh. Here you go. Let me just fix this because I'm a genius. And I was like, I'm going to mess with everybody and it backfired with karma. There we go. Turned all my lights off. But yeah, we got the links on episode 150. Don't forget we're monetized now. So that's cool. So anything you shoot over, if you don't feel like hitting the PayPal, you can always do like super stickers, that kind of stuff. And yeah, we're rocking. We got an amazing guest. You know him as Hugh Forge. We know him as that guy from Hugh Forge, that 3D Prince. Sleep, sleep, sleep. I love it. So that's going to be a lot of fun. And yeah, it's a fun show. And someone says 11 days till Murph, OMG.  That's what someone just said. I'm looking at the counter and he is, whoever that was was right. I can't believe it. It's already coming up. Wow.  Yeah, you probably should. Just throw it out there. You probably should. We'll be there. Well, at least I'm not sure who's coming. We're going to be there. I know the crowd is going to be a little.  It's going to be a little, whoa, 10 bucks. Fantastic. Thank you. Thank you so much. Thank you, sir. Yeah, the crowd will be thin, but it'll be fun though. I'm excited. I hope they get a really good like public crowd coming in. That'd be awesome. What is CDFAM? Thank you so much.  CDFAM on Wednesday. I'm not sure what that is. Me either. Maybe they still listen to CDs. Throw it out there. Who is that? My middle name starts with a D.  Hot, zombie hedgehog. Thank you. Thank you for the super hot dog sticker. 11 days, about three sleeps. It'll be a full house. Only three. She's saying there's only three sleeps in 11 days. I don't know. IRF is, yes, IRF is September 30th. Yes, the end of September this year. So I tell you what, we've been babbling for nine minutes. I think we should. I think we should bring our guests right in. What do you think? I think we should, too. Let's do it. Ladies and gentlemen, Mr. Steve, Hugh Forge himself. How are you doing, man? What's up? I'm good. How are you? I keep catching myself and I'm sure you probably hear this a few times. I keep wanting to say, Hero Forge, do you get that? No, I've never heard that. Oh, it's a, it's another 3D printing related tool. Oh, right. Ancient ends with Forge. It's for making D&D miniatures. So I keep saying, oh, we're going to have a Hero Forge. I was telling my friends, like, yeah, we're having a Hero Forge on. And then they were like, what? And I'm like, no, Hugh Forge, Hugh Forge.  That's cool, too. I think I do remember Hero Forge from back when I first started printing and I could never get them to print because they weren't that easy. No. So a couple of weeks ago, I can't remember. Maybe like three weeks. I can't remember how many weeks ago it was. Someone tagged your stuff and we started talking about it. And I was like, we need to get this. I think it was when, I think it was when the film stories was on. Yeah, yeah. And Kayla won't remember this one. But, ooh, that was a good one. But anyways, we saw your stuff. We were like, what is this? We need to know what this is. We need to get this on. Zombie Hedgehog. Oh, man. And here's an example. Like, let's just throw it out there real quick. This is 3D printed. All right. So we saw something and we're like, what? I'm pretty sure. I don't know what this is. I think we looked at it when it was an episode that I was on too because I remember having my mind blown when I looked at this. I think it was watching the replay, maybe. But I remember, because Steve, you reached out to me or the Hot Makes account on Twitter. I think it was me. I reached out to Jim first. He reached out to me and I was like, we got to get Caleb involved. Let's get him and then, yeah. And then, yeah, then I reached out. Or you reached out to me, I think, last week, yeah. So before we get too far, who are you? What do you do? And then we're going to dive like head first in this because we need to check this out. OK. My name's Steve. I'm a dad who works a day job as a developer. And I started making color lithophane at home. And it was really hard to do layer-wise. I wasn't doing CMYK because I don't have an AMS or an MMU. And I didn't want to do 16 swaps. But I wanted the cool color lithophane. So I started writing this tool. I have a little bit of graphics background. Started writing this tool, using it for that. I think it was around January. It was, you know, December, January, brand into Ian. And he was doing it the other way around. He was doing front-lit stuff. And I said, I'm close enough. I think I can make that work. And started doing that, too. And then that ended up being the cooler thing. Because everyone's seeing color lithophane in multiple different ways. True. No one's really done very much with, let me blend your filaments from the front and make a cool image that way. It is so cool. It is. But things different. So let's start there. What you're doing is you're, explain what you're doing. You're blending filaments, you said, from the front? Yeah. So every filament, well, even black, but every filament is a little bit translucent. It looks solid on the spool. Well, some of them don't even look solid on the spool. I'm not even talking about transparents. But some of the regular colors don't even look solid on the spool. But when you start printing them, especially at thin layer heights, they're not at all opaque. They're very, very see-through. And now black is mostly opaque. I think you can only go 3 tenths to 6 tenths of a millimeter and it'll be solid. But other ones like yellows and whites and some reds will go seven or eight millimeters before they don't stop, let light go through anymore. And so normally we see this as an annoyance. I did that multicolor thing. And I wanted it to be white and it's pink because I didn't put enough layer white on top, that kind of thing. But it actually is an opportunity to make a whole lot more colors than we have and a whole lot more shades than we have without having to swap filaments a bunch of times. That's awesome. Yeah. So I don't know how I'm still having a hard time wrapping my head around it, honestly. That's where I was going. Can you explain the process? I know you're sharing a screen, but when you're going through a design, you guys kind of wrote something to help an image, right? Like so I could take an image and make it do this. Yeah, so I started actually with lithophane's coming off of It's Litho. It's a great tool for making lithophane's. And I started with those but you, and I was working with those when I was doing color. I have a color one here. Oh boy. You won't, it's not lit, but you can see that it's just layers. Sure. So cool though. Colors. I have a light here. You can see. Oh yeah. That's so cool. So I was doing that. I was not trying to do, but it's the same idea. The issue is that the colors blend. They don't blend the way we think they do. We see it with lithophane.  And of course, some light's gonna get through and the colors are gonna carry through. And that's kind of the easy, mentally that's the easy way to go. The hard thing for me was it's really slow in the slicer to change the layers. And it's not always obvious how thick you need each color to be to get a good image. And so I started trying to quantify that. And so I made little test samples that I would print out and quantify that. And that's where the idea of what I call transmissivity, but I've changed the transmission distance because I found out that one word is harder to say than two for a lot of people. I have no trouble saying it, but tons of people do. So I said, let's just forget about it. It's transmission distance. The distance that light will transmit through a filament was my major, that was the feature that mattered. The color matters too, obviously, but the distance that it travels through is what mattered the most for making good, reliable, repeatable color lithophane. And then when I started talking to Ian, he was doing it the other way around. And I said, well, I think the same color blending will work, but it's gonna be scaled differently because I'm not shooting light through it. And so we had to work, I think it took us three or four days to get the color just right, like the blending, right? Yeah, I think it took us two or three days, maybe back and forth or two or three working, like back and forth days, getting it right between us. And he was great because he'd been doing it in his head in the slicer, just sitting there saying, I know that this gray is kind of gonna let this much light through and I need this many layers and doing that all in his head in the slicer, which was taking him hours. So I would send him a build and he'd say, yeah, this isn't right. I need to cut my values in half. And I'm like, okay, let me try something else. Let me try something else. And I really wanted to use the same values. So we were able to work that out and get that working. Okay. And then somehow Hue Forge was born. I mean, it basically just added this, I added that front lit, I added front lit to the software. It was still the color lithophane builder at this time. My very, very unique name. It wasn't until I went on a 17 hour car ride with a family and more people were getting interested in it that I said, I can't keep calling it the color lithophane builder. Can we rename it something? And we came up with Hue Forge. So what's the difference between back lit and front lit? So in general, the real only difference in the way you generate the model is you use the actual height map. So lithophane, remember early in the lithophane software, you always had to click the negative button until they finally were like, everyone has to do it negative. So just set it to negative for you automatically. Okay. The front lids are just take off the negative. So the brighter the color, the higher it is and the darker the color, the lower it is. Cause they're generally all working on luminance. And I'm working on luminance too. I just have a lot more options of how to adjust your luminance and how to adjust the luminance curve and the color division between the luminance than the typical ones. And it's faster because it's all happening in real time on local software rather than having to go to your options page, change your options, go back to the page, say, I don't even know if that looks very different. Let me go, you know, let's go back and forth. It's very hard to track. But yeah, that's one of the, I started calling it a front lit lithophane. And people very quickly told me I was wrong. Because lithophane's aren't lit from the front. We're coming up with new processes here though. Like it's untrue territory. But I will say that, but it, you know, for one, the first time it happened, it happened in a Reddit thread. And I was there for it. Cause I'm like, you're just commenting more on my image. So I'm just getting more attention in the Reddit algorithm. So I really don't care that everyone feels like the need to correct me on the lithophane thing. No such thing as bad press. But I did think, like I've always thought it was kind of more like a traditional painting or printing process. And so that's when someone asked me a couple of weeks ago, what do you call it? I said, you know what? I'm calling it filament painting because that's kind of the closest analog to what it is. And it's very, it's a very unique term too. Cause when you hear it, you're like, what? What does that mean? You're cause, I don't know. I feel like if there's anything we know about the internet, someone will call you out about everything. So whatever. I'm sorry. Did you just say someone? Someone. Someone. Yes. I want Jim to try pronouncing the, the transmissivity word. Transmissivity. Transmissivity. Oh, look at that. Look at it. You got it wrong with that. Cause Ed C says you have problems with every word. So you just, I love it. So can you, we've been talking a lot about it. Can you walk us through? Like how does it work? Can you? I feel like it's going to make a lot more sense. Yeah. You all right with me popping it up? Yeah, yeah. I'm just going to look at the screen. And that guy, 3D prints, I know the chat will be more than happy to help you with some questions. We will, we can maybe address them towards the end, but if chat, if you guys want to help them out while we're talking, that would be awesome. Ooh, I actually just answered this question for a friend today in, in pretty, in a pretty long. So I'll, I'll, I'll see if I can get rid of them. All right. Let's do this. I'm excited. All right. So this is what you forge looks like when you launch into it. It does have a light mode and a dark mode, but we all know that only he then used light mode. So actually my daughter, my daughter was like, it looks so unprofessional in light mode. And I was like, fine, I'll figure out how to implement dark mode. Sarah uses light mode on like Facebook and stuff. And I'm like, I don't know how, you're staring at the surface of the sun. I don't know what you're doing. Okay. So on the left is your filament library. On the right is your images. Your far right is the source image that I'm using. And I've clicked the outside of this. So it's got, it's transparent background. It doesn't have to be, but for this one is transparent. That's been the most popular style. So in here, I'm looking at that transparency data and just chopping out the stuff that's transparent and making it zero height. And here I've assigned a color set to here. So these sliders do not need to be in order from left to right. It's their order from top to bottom. So we have black at the bottom here, and then we have a dark gray. And if I bring the dark gray up, you see the dark gray start climbing up her body. And now here it's, it's got weird, right? That's because it flipped over the light gray and now it's all light gray in between here. So it's what the order vertically of the sliders are. Okay. So on the right is the image that you imported. Correct, right. This is the image I imported. And the left is the, left is the image that you're modifying for that, that represents closely, you know, more closely represents what it's going to look like when it's printed. This is actually the STL. This, well, it's the model file. So I can show you that. I can see. Oh, so that's, so this is being done in real time. Yep. This is on the model. What? What? What? It's the mesh. That's just my mind. You ever see that guy in TikTok? Yeah. Anyways. Yeah. So, so I generate the mesh and then I, cause I have to generate the mesh to know what the blending is going to be at individual heights. If I don't generate the mesh first, I can't tell you what the blending is going to be at a particular height. All the blendings, all the model generations done in the GPU, we did get it working on embedded GPUs. So the Intel, Iris XE will work and the AMD embedded work. You might have some mesh size limitations, but they work. And then, okay. So, but now let's say, you know, she's orange. This is gray. Gray scale is always easy. Orange is harder. But you can change color pit. You can change your color hue by bringing in other colors. So I can just adjust. I have, I pre-loaded these sliders, but I can bring colors in and choose where I want to put them. I can bring in, you know, if I wanted a little bit of a blue hint to it. Oh, there's Nick. Hi, Nick. I could give her a blue hue. I also have this idea of sets. So filament sets. So I can swap over to this one, which is a little bit more like the source image. Little bit. So this is where I start getting super confused. Where is the color coming from? Okay. So, okay. So these sliders at the bottom represent filaments that I own. Right. So my list of filaments, right? Okay. So you know that you have like an orange in there. Right. I have an orange right here, a polymaker orange. And I'm like, I'm kind of a weird person that I like all these colors, but then I'm like, I can't use it because it's too opaque or most of the problem is too opaque. Really translucent stuff I kind of like, but if, you know, there's limits, but... Interesting. Okay. So, yeah.  It doesn't really matter. Then I'm going to put a brown here to give like a brown shadow to go with a red rather than a gray shadow. A gray shadow is fine. I can do a gray shadow, but I just, I just like those colors. You just click and drag the color to the slider. Drag it up. Oh, okay. That's where I wasn't clicking. Okay. I can also set the filament from here. Yeah. But the fact that you have the UI to just click and drag is even cooler. So then... That's polished. And then, you know, then I have my red here and the red I can adjust. And I'm mouse wheeling the slider. Once you get close, it's best to mouse wheel the sliders. Otherwise, you overshoot. Yeah. The mouse wheel is one layer at a time. Oh, and each one of these ticks on here is one layer. My layers are defined up here. So this is 0.08 layers and my first layer is 0.16. That doesn't actually change things here. It's more for the slicer. I do 0.16, so this is way easier to point a print to first layer at 0.16 than at 0.8. And so then I can adjust, you know, you can tweak any of these values you want here in these layers, so I'm just sliding them around. And then actually, if you bring the white down right now, it's set to adjust the mesh as well. You don't have to, that's an option over here. But so basically, you just have your options. You can bring in whatever color scheme you want. I can do... And how many colors can you go up to? Does, do you have there? I have 16 sliders right now. Okay. That's nuts. Yeah, I don't normally do more than five or six. Can you test it to all 16, I'm assuming? I mean, it'll, so, okay. So that's an important thing to say. It is not a slicer. It is making a model and it will give you a description of what you want to do for layer swaps. Give your layer till this layer number at this height and do your, and then your swap. And these numbers are what you put into Prusa Slicer or Bamboo Studio. They are, so technically it's the next layer. It's the layer, because in Bamboo Studio, whenever you go to the first layer of the new color and say swap here. So that's what these numbers are. They're exact matches for that. So you'd say, you just go into your Prusa Slicer Bamboo Studio. You can do it in Cura, it's a lot harder. And you say, okay, go to layer four or 0.4 millimeters.  Then go to layer five, add a swap. Go to layer nine, add a swap. You do that in your slicer. And then as long as your layer heights and your base layers are right, and it's always good to check your millimeters against it, then you'll get the swaps at these locations that you need. That's awesome. Match up with the sliders. Wow. So there's not really a way for 16 colors to not work in terms of just giving you layer heights to swap at. So you just would need to set the swaps up right. So to clarify it for a zombie hedgehog, he's not using any AMS, any color swapping except for swapping the filament out at a layer. So anybody could do this. Anyone could do this. But zombie's kind of humble bragging that he's got more AMS units coming. Yeah. Well, yeah, I have enough to do 16, but I haven't played with that too much yet. I'm more curious about like, I could take any printer I want and do this. And that is amazing. Now it'll get probably done faster on my bamboo lab printers. But if I wanted to take this massive 500 rat rig here and do it here and make a huge picture, right? Yes. Yeah, absolutely. Yep. And I will say that lithophane's take, and this software will do lithophane's. I've got it set for filament painting here, but it will absolutely do a lithophane for you. I could switch her.  You kind of just want to sit in one or the other. This is kind of hard to fix, but it will work well enough for this. I'm going to turn off my parent background. And then we would, hold on. I see what you're saying, though. Yeah, there you go. So now we can make it, this could be backlit now. And you could say, OK, it's black all around the edges, and you just have the red. So that would be more of a traditional lithophane again by layer height, swaps at layer heights. You're still only swapping one, two, three, four times for five colors in here. So it does both, but I will say that it uses a lot more filament to do lithophane's, because you need to be a lot thicker to get the stuff you want. So that's cool. This works, tends to work better. Just watching where you're checking on this. So, I mean, you could pretty much take a picture, drop it in, bring your colors down to the bottom, and then start messing around and get it to where you think it's where you want it, right, on the left side there. And then once you get it where you want it, it gives you an STL file, right? You save the project, get an STL file, and a text that I showed you and that pop up. Perfect. That was my next one. Does that get saved as well? As a text file, that's a new change, but yes. And actually, it gets copied to your clipboard, so you can paste it into something I did that specifically to paste up the printables and stuff, so you can. That's awesome. It actually gets copied regardless of whether you hit the copy button or not, but everyone gets confused if I don't make you hit the copy button and forgets that it's already there. How long has it been working on this? I started in October of 2022. But I didn't actually really start doing the frontlet stuff until, as I said, like January. And how big is your team working on that? Like, do you have people working with you? It's me. I read all the code. And then I have testers, and I have Ian, who's been testing and helping me a lot, and knows how to make crazy, crazy good images that, like that first image you showed of the fish, that's Ian. He just makes me look good. He makes my software look even better than I can. So I'm all for that. But yeah, he does great work on it. And so there are limitations. You can't make every image work in Hue4. Parts of it is, because I am not doing multi-swaps per layer, you can't make certain color combinations. Ironically, you can't make the Hue4's logo work. It won't have it up here now. You can't make that work because it's got CMYK in it, basically. And I can't hit all of those colors in one model. And it's still not color aware. I'm working on this. This is a post-release thing that I want to do, which is to be able to basically say, hey, for this set of colors, use this height. It's still a luminance base right now. So you'll get things where if the eye color is too close to some other color in luminance, it'll be the same color. There's no way to separate it. So there's issues with that.  There's a whole bunch of sliders and widgets over here I'm not even talking about today that are super powerful. It's getting a whole control panel. I can change how the lighting is calculated. This is one of the things that I work on that's kind of different from the other filmmakers. I can change how the luminance curve works. I can change what the max depth is. I don't know if you saw Taylor Swift. I did the Taylor Swift black and white photo because someone challenged me to do it online. And I had to bring it down. It was two colors. It looks like a black and white photo, but it had to bring it down to less than a millimeter because it didn't work otherwise. So yeah, so that one was fun. But it was like, I was surprised. I was trying to do it in four color gray scale and it wasn't looking good. And then I finally brought it down to two colors and just shrunk it really thin and then it worked. So. Well, now I'm trying to find T-Swift here. Oh, you can look at it on the Hue. It's on your Twitter. All the links to the Hue Ford stuff are in the description of the video too. Yeah, here. Boom. Sick. Okay. That's sick. Oh, that looks like it's still on the bed too. It is still on the bed. That was partially like, hey, let me prove to you that this was printed. It's still on the bed. Because that was early on, it was like, can I prove to you that this is a printed item? So what'd you have to do to make that happen? To make Taylor Swift happen? Yeah, so you said you had to change. I had to do it. But I mean, the photo, yeah. I mean, I'm responsible for Taylor Swift. We all know that. You heard it here first. Here. I'll bring Taylor Swift in. And it's also drag and drop into here. That actually doesn't look that bad.  And then I brought it down to 0.9. And then I think it was standard probably. What is that? Oh, actually I needed to go down in layer height. So I have a switch wire clone and a switch wire that I, so that runs at 0.5. So I did that. There you go. Nice. Taylor Swift. Check that out. Two colors. Identical. Yeah, one swap. Though there are things that won't work. I'm gonna have to mess with this in order to fully understand that I think. Well, you gotta print some of the models. You gotta go on printables and print some of the models. And what everyone says is, you know, I thought it wasn't gonna work. There's always that point. I remember asking Ian the first time I started printing one, my first test one. I said, is there a point where you look at it and you think this is not never gonna work? And he says, every single time. So just to expect that in the middle, you're like, it's not gonna work. But it really does matter here. Like you couldn't use, if I tried to use this white, so I have two different whites in here and they matter because if I tried to use this white should be all blown out. You'd get much of it, but it's because this white here lets a lot more light through than that white up top. Okay. So when you put your filament in your library here, you've gotta be very specific with what features they have. Yeah. So I will say that the color is important, but it's less important that you get the color right. How do you... The color can be closed. So... Two questions. How do you determine that? And or are you doing that testing there and putting filament options in the software? Yeah. So it's a good question. So I... First I had a little test swatch. Oh, I have them sitting right here. So I printed these. Oh, Ethan's dad has a great point. The software is gonna sell filament. Yeah. And Polymaker... Nick, are you listening? Polymaker knows that. Actually, Polymaker is well aware. We've been... That's cool. Okay. So you've got test swatches here where you can see... So I made those test swatches and they're good, but they only go to four millimeters and they take an hour to print and they're solid because you have to go at 0.1 millimeter layer height or 0.12 scale. So then I came up with this. I call it the Filiscope. And I have these little disks that I print and then... That does not like being that bright. I have these disks that I print and the disks are at four millimeters, three millimeters, two millimeters, one millimeter and half a millimeter. Well, it's 0.6 when you print it. You print them at 0.2 millimeter layer height and then you just drop them in and then look at a light bulb or look at a light with them and see when you stop seeing light more or less. It's a little bit trickier than that. And actually Distributed Medic is working with Polymaker to go through all their filaments. And he got an actual filament. He actually got a luminance scope or luminance sensor and a calibrated light and he's starting to shoot them and get me numbers for Polymaker. Nice. So we're hoping... That's amazing. So you're hoping to have a full library built into the software or available to download for... Yeah, probably not at release because I'm planning to release Wednesday or Thursday this week. So I don't think it's gonna be in... That's my big announcement. Wednesday or Thursday this week. There it is. I don't know that we're gonna have that library in then, but it's gonna be very, very easy to update and add the libraries. The big thing is I realized you don't want everybody's filament in the world in your active library. And I don't have a two-tier library system yet. I need to put that in. Where you can say, okay, I've loaded a bunch of libraries and now I have these filaments and pull them into your library. And then those go into this library that you see right here. Okay. So would you have libraries by manufacturer and then you can pick and choose which colors you have? Right, exactly. And potentially even say, I need a color like this. You go into your thing and you say, I bring this slider up and I say, well, I really need a new filament. I need it to be red, but I need it to be really opaque. Will that match the closest match to the library? So it'll tell you, oh, you need Polymaker this color. Well, then I would say, you'd say this, you test this and at some point you right click. There'd be another menu that says find filament and see if someone in your library has it because yeah, that'll be great for everybody. I love it. That's not in yet, but that's what I'm working towards. So. This is so cool. Filament companies are probably creaming their genes right now over this. But mostly I'm talking to Polymaker. Speaking of Nick, he likes the idea. Yes. Yeah. And Protopasta has reached out to me. I've heard Filamenta must talk to me, but they haven't yet. So. And maybe talk to Cookie Cat too, because they've got some very unique setups too. They have a lot of really shiny colors though and a lot of color changing colors and those. Yeah. They can work. So actually here's the thing that surprised me is the number of people who have, the number of people who have made really good versions of my prints with filaments that I didn't think would work. So like the Cameo print, I'm like, okay, you really, really need this white that's really transmissive. And people are like, yeah, I got this white. So I'm going to print with it. And it looked great. Or, hey, I'm going to try a gold shiny on it. And, oh, it actually looks pretty good. So, you know, I'm looking at it saying, I really think this is going to be best this way, but the number of things people have tried out and that have worked relatively well. And then there's some things where I look at it, and I'm like, eh, it's not so great. They're like, I'm so happy with it. I'm like, okay, great. I'm really glad you're talking about it. You know the base? Yeah, it's a base. Yeah, sure. Base or low. Low layers, they're fine because you're not really trying to get too much of that blended. Yeah, so it's going to be good there. You know, the best print and filament you have is the one that you did with the filament you have. So, I mean like, it's awesome network. You're going to have the libraries. There's some really good questions. Yeah, can we ask a couple of those real quick? Absolutely. By the way, some dude in zombie hedgehog, thank you so much for your donations. Yes, thank you. We really appreciate that. Guy Wenzone says, when and where is the software available? You already said when, this Thursday. Or Wednesday. It's going to be on the Horn and Rody Art Shopify store. This should have a link, I think, down below. It's not there yet. Yeah, let me pull that up before we're talking. Or at least see your, yeah. It's right now it's all model files. Right now it's all model files, but it is coming there. That's my deployment platform. And I will notify first on, yeah, so I was doing a bunch of stage top stuff. Those chessboards, by the way, are Hugh Forge chessboards.  Those. Oh, cool. Those tiles were made by, so like the middle two in the bottom. Those tiles were made in Hugh Forge. The marble effect is.  So, are you kidding me? Look at this. So yeah, so you can do, you can do foe materials. You can do, you know, D&D tiles. It will, it'll let you color existing. Geometry. So this is like a stone. Sick. So you'll be able to do terrain. Yeah, this would be fantastic for, like instead of for printing D&D, like terrain and building and layouts and stuff. Yep. So those are the images. Those are the images they're based on. I actually didn't have tile images at the time.  And then he printed that. So this is his board that he made from the. Thank you Liz. What's up? It's a banana. Thank you. So the question, I saw the question right, run by on pricing for personal use license for early. So this is early access we're going into. And for early adopters, I'm going to offer it for $12 for personal use. That's awesome. And that is a lifetime use license. But after two years, you'll stop getting updates or bug fixes. But I think that's pretty fair. And then for, for limited time, again, these are all early access, like that because you're adopting it, when it is going to be buggy and have issues, it's going to be $30 a year for limited commercial. That's, you can sell printed models. Full commercial or professional is going to be $8 a year where you can sell, you can sell the STL files as well. Okay. And then lifetime is 175. That also includes the same provision that after two years, you'll keep all your commercial rights and you'll keep the right to use the software, but you stop getting updates unless you pay the limited commercial fee annually. Got it. But there's no immediate, you don't have to, like if you're like, actually, I'm great, I don't need it. There's no like catch up fee or anything.  So how do we get early access? Like you said, early adopters is a lot of money. This is the early access. So like this is the early access. So like this release, like in the first like month, it's going to be much cheaper. So what you're releasing on Wednesday, Thursday of this week is the early access. And then like the actual like big public is going to be a month or so later. I mean, anyone can get in now who's paying attention and knows it exists, but yeah. As features come in- 64 people right now are going to know that it's happening. But basically as new features come in, as it becomes more stable and I'm pretty confident that the major bugs are out because I'm sure I've been running into shader issues as I have more people tested, but fixing those, but I'm sure I'm going to run into people who are like, it just doesn't work on my machine and we'll have to work through that. So once I get past that stage, the prices will go up because- Greg's maker, Greg's maker corniporn's out. That's so cheap. Yeah, you're rolling in hard there. I just, well, I know also to be fair to be totally honest, 3D printing is super viral. And if I get a bunch of early adopters who start kicking out models, I'm going to get a lot more people interested in software than if I try to make as much money as I can per license early on and you're going to go through teething pains. Oh, the other thing is that you have a lifetime license, Ian. He is actually, I promised him a lifetime license number one. So, because all the help he's given me. So Polymaker is in the US and Canada, they are going to issue coupons for their filament equal to the purchase price at whatever tier you buy. So if you buy, yes, that's what Nick said. So if you buy $12, you get $12 of filament from the Polymaker store in the US and Canada.   That's amazing. Polymaker is just constantly throwing things at people, like, which by the way, Nick, I'm still going to end up using that coupon. I just haven't gotten to do it yet. You can't have a house before you can order all the...  But let me get this straight. I jump in here Thursday or whatever day it is, right? I say, I'm going to do the 175 lifetime license. Polymaker is like, here's 175 bucks for filament. That is what Nick said. Is that what I'm hearing? Yes. That's amazing. Yes. Come on, Nick. I love it. And I'm in, by the way. I love it. I cannot... I can't wait to start playing with this. This is so cool. I'm excited for everyone to start playing with it. The biggest thing I'm worried about is that it isn't intuitive to the process itself. The whole idea isn't intuitive and I want people to have a good experience. So I'm working on the tutorials. That's basically what I'm working on is tutorial videos so that they can end up, you know, people can get in, hop in and know how to go. Know how to do that. So they need to go to your Shopify and watch Wednesday, Thursday, sometime this week. So I will announce... Nick, your corner, asked where the link is. Where his link to the Shopify... Oh, Jim just pumped it in the chat and also all of the links to the HueForge stuff is in the description of this video. And I will announce first on my sub-stack because I promised my sub-stack I would announce first there when it's released. But then, you know, a couple hours later, I'll be on Twitter and everything. What are you going to do about... So new feature... If you introduce new features in the future, is that just going to be an immediate release or are you going to have like early testers through like a Patreon or something? Anyone at a subscription tier or a lifetime tier gets to be my beta testers for new features. Excellent. Okay. So if you're at the 3080 or 275 tier, you're my testers. You get early access. I do not have current plans to not eventually release everything to everybody. But at the moment, basically, you'll just be delayed. You'll get it when I feel like it's stable and everyone's happy with how it works. I feel like this one comment is worth it. Like... Yeah, yeah. So what you're saying is, you're not going to creality us.  Oh, and then... Bug fixes will go out right away. So if I have a bug fix, like if they're like, oh, it's... Okay. So you're definitely not going to creality us. Correct. That was a good one. You must have the professional, ultra-amazing God tier subscription or above in order to get your bugs fixed. Yeah. Ooh. No, only after two years. Only after two years. Yeah, yeah. So I jump in, I do a lifetime. I'm good. Like, done. Yep, you're good. Yeah, the only thing you would have to pay again is if in two years you want bug fixes or software updates. If I come up with an amazing, awesome feature in two years, you don't have to pay lifetime again. Even with the lifetime. You take commercial or limited commercial. Similarity being kind of like what Simplify 3D did, where it was a one-time fee for the software and they kept releasing new updates. But once they went like a whole version number newer, they were just like, yeah, you got to buy a new... But you're being upfront about it, at least, because they kind of threw that at us. And actually it was because several people who wanted to buy Lifetime said, I think you should probably only give us updates for a couple years. And I said, well, if my people who want to buy Lifetime are saying that I should do that, I probably should think about doing that. Yeah, interesting. That's awesome. And that's actually at my option. So if something happens and I don't need the continued income, or I don't need you to be paying more, like if there's some options I have there, then I wouldn't charge it. But it's at my option that in the license is at my option in two years to stop giving you new updates. Yeah, see, I like the DaVinci Resolve method. I mean, you pay for it once and you rock in it and no, no, I'm super pumped for you. I mean, I think that early adopters are gonna have a bunch.  And I'm really happy that you're actually taking the time to dial this in and get it ready for people. Oh yeah. Because, I mean, like I wanna play with this right now and I'm gonna need your tutorials because we just saw 10 minutes of you playing with the software, but once we dive in, we're gonna be like, what is this? Like, you know what, I mean. I'm sure Jim will be up for making some tutorial videos on that too, like he's done for Lightburn and stuff. Yeah. Just saying. Ooh, Ed has a good one. I am down for that, by the way, I'm ready. If I go to your website and buy the MarbleTile, can I use it now? Absolutely. And don't delete your software. Oh, okay. Absolutely. You can 100% use it now, that those were made for people who asked, you said, hey, I wanna be able to print a chessboard. And I said, here, here's the files. It's just like the printable files. It tells you, here's the model, here's the layer swaps to do, what colors to swap to, and you know, go. So, yep. Oh, this is how the conversation with Lightburn started. And I said, do you wanna have some things? And actually, I think probably it will make sense to have some sets, because this doesn't use very much filament. Black, white, gray, you use a lot of that, but for a lot of the filaments, you don't use that much. So, you know, those 250 gram schools that everyone hates start becoming interesting. Yeah. For those samples. Yeah, the samples that are still sitting in the vacuum packs from last year's Murph. I literally have a box. So, zombie and Liz have been kind enough to agree to represent Hue Forge, at least with models and some information at Murph, but I will be at Murph, but I will be at Earth. I don't know if I've met Liz in person. I know if we've met zombie, it's Rocky Mountain. She's, you know, from the Great White North. Liz, yeah, Liz was at Earth last year, but I don't think you were there. No. But I have an idea. Let's talk, because I'm gonna be at Murph with a table, as well. And I could bring down one of my bamboo printers and just rock. Or, no, I'm not gonna do this one. Greg, it doesn't matter what size your filament is. It doesn't actually even matter that much what size your nozzle is, as long as you're not trying to print small. So, this is my first cameo I printed. Let's check that out. Ah, I can't. Steve, that's the one that I saw that I lost my mind over. This one is the first one I printed. I printed this. That is straight up a Renaissance relief sculpture. I printed this with a 0.6 millimeter nozzle at 0.04 millimeter layer height. So, that's why it's kind of messy. This is the one I printed at 0.2 millimeter nozzle and 0.05 millimeter layer height. So, it's cleaner. It's cleaner, but you can print with the bigger ones. And like the spacemen and things like that, they're perfect for a 0.6 or, the 0.4s are actually really nice. The bamboo 0.4 has been doing great. That's, Ian's printing all of his stuff on the 0.4. Really? And what layer height? 0.08. He does 0.08. He doesn't go lower. Yeah, that's awesome. And he just keeps at it like, I always ask him, I'll be like, that's like four colors, five colors? He'll be like, no, it's seven. Oh, that's why it's so smooth. That's why it's so clean and the transitions are so good, but. We're running low on time and we have like more, we have more questions that I did want to get through at least quickly. This is one of them. Okay. Are you going to have it for Mac at some point? That is the plan post release, Linux and Mac as well. But I just, I had to focus Windows which I'm developing on for now. Linux will probably be easier and faster and Mac will take me a little bit more time. But I've developed it in such a way that it should work pretty straight to Mac. I just need to get a platform to build on. And then geek toy box was saying, working with filament colors or the filament librarian or even filament stories. Have you talked about working with some of the people who are already kind of collecting libraries? So I've sent a note to filament librarian. He was just too busy to really get back to me much. But he did say that due to API issues on the website, you can't add transmission values on the website but he was interested in talking. And then filament stories that she was interested in talking but I haven't had a chance to connect with her yet. Speaking of talking, Justin says he knows Ivana at Filamentum if you want to get in touch with him. Yeah, she said she, Britt said that she wanted to get in touch with me. I just haven't heard from her yet. Oh, cool, cool, nice.  Glow in the dark UV reactive, which also- He did that with the cameo. I think it's on the discord at Polymaker but he did that with the cameo and it looks good black and white or it looks good front lit and it looks good glowing. It's actually pretty incredible. That's awesome. So that answers my other question then is like, does it have to all be one? You can swap multiple materials with different because it's up to the slicer to set your materials like temperatures, settings and stuff. Sure, I mean, I don't switch those but I use all PETG because the PETG and PLA will pull apart and things like that. That's what I was concerned about. Yeah, so I would suggest you stick with one filament type per model. But if you have the colors you want in PETG for this model and the colors you want in PLA for this model then go that way. I print all mine in PETG right now because that's just what I print all the time. But the transmissivity or the transmission distances have not been that different between the two. Okay, noted. And Matt had one more question. Will you do a USB drive where I can take it from computer to computer? Yeah, I have a post on this. My goal, my idea of a license is it's a household license, all the computers you want in your house. And if it's like a mom and pop business you can both use it. But if you've got multiple people in a household working for different businesses then I would expect the business licenses for each one of those people. But if you're running an Etsy store out of your house or anything like that and you wanted to run it, then it's yeah. So you can take it to however many computers you want. Awesome.  That's fair. Nice. I love it. I hope I get to mess around with it at some point. Jim, I hope that Jim ends up being able to make some videos on it and I can't wait to see what all the cool stuff that people make with this because it's gonna be amazing. Absolutely, I'm excited to see what people I can't even think about like that can do with it. Yeah. Who has some actual photo editing skills and can do some pre-processing that I can't do, that kind of stuff. Crap, I'm done. I love it. Well, I say we got a few minutes. Let's hit some hot makes. You can hang out for hot makes for a minute. Sure, absolutely. All right, let's do it. All right, let's do it. That was weird.  I'm just curious, how many have seen this? What printers did you bring? This is my Prusa Mini. I love this thing. It is the perfect size. Nice. That is small. This thing prints galaxy black like so good. Don't even get me started about the support. Nice. Gross. Now this is a printer. It is bigger, it's enclosed. It is super freaking fast. And if you open this up, I keep my PLA right here. I keep my silk right here. I keep my rainbow over here. There's even a poop shoe right there. Garbage. Average Joe, what'd you bring? It was free rock on. It even has a light and the little thing goes out the bottom right here. It's pretty cool. That's a BL touch. It actually levels your bed. You mean there's no wheels? No, it does it automatically. What about the magnet cover? It protects the magnet from glue. It actually stops it from getting dusty. So cool. That is a flexible build plate, man. You're supposed to print on that, not the magnet. Just testing you guys. I love it. I love it. I love this one. What does it have? Oh. Fantastic. Well done. What's going on? Dude, we can't hear you. Who, me? There we go. There he is. He probably muted for the video. In my back? Yeah. I ran away for a second. And let me know in the comment what you think. I had fun doing that. And it was definitely outside of the comfort zone there for a minute. But I just wanted to point out, here you go. Gross. Gross. You know what? That didn't bother me. I didn't bother me, sir. That didn't bother me because it's just soap and water, but the glue on the glue on the bag, it hurt. Yeah. You know what's funny? I don't know if Tim's watching from TH3D, but I literally, the Ender 3 was my very first machine ever. My original Ender 3, I didn't have a flex plate on it. And so I pulled off the crappy bed that's over here somewhere. I grabbed a magnet that I had laying around from TH3D with his flex plates. And I stuck it on completely sideways just to fricking, just because I had to, right? And I can't even move the bed. Like it doesn't go back because it's so sideways. And so I definitely just wasted a magnet for that video. But it was fun. Fantastic. Look it. You donate. No, I'm not looking at that. No, it's gross. That's gross. It looks like poo poo. I don't like it. You should have seen the outtakes. I was trying to do this. And I was literally like, that one was gross. That was disgusting. It felt gross doing it, but it was so much fun. All right, anyways, the first one, Jill telling print in place crane. I need this in my life, by the way. This is cool. This is, it just prints in place. Yeah. I love the style of wheel that's been coming out. Oh, so you turn the knob and it does all the stuff? Yeah. It does all the things. It actually works. Look at this. And it's all print in place. Has a little kickstand to put the crane up. I love it. I would be a man. I'd be playing with that all day. And you'll never guess what color this is. Is it is a galaxy? It's Galaxy Black on the Prusa MK4. So I just had to throw that out there. Was that intentional or was that totally coincidental? No, I don't know that this was coincidental. In my video, I definitely was intentional because everybody loves Galaxy Black. As a matter of fact, Nick is watching in the AMS. Oh, did I take it out? I might have taken it out. In the AMS, it didn't make the video, but I had a role of polymaker Galaxy Black and I was going to hold that up and it just, you know, just to like poke the bear a little more. Fantastic. And it didn't get in. So but anyways, all right, that's phenomenal. Everybody hit Colts and I need this in my life, by the way. Oh, geez. I would sit the next one. I would sit and like pick up stuff from my desk. Like, yeah, that would be so fun. All right, next, Abby. Man, oh, yeah, I do not know how to describe to you how jealous I am that they got to work with Transformers and Paramount and Adam. Yeah, like. That was like the dream tour. I know. Right, to Hacksmith and then Adam and with Paramount. Oh, man. That is too cool. Amazing. The video is awesome. If you guys haven't seen the video, Joel, did about this Transformer head, go watch it epic. Optimus Prime. Epic. Yeah, yeah. Good movie, by the way. I enjoyed it a lot. I'm a huge like as a huge Transformers nerd. I liked it. OK, good fun. Haven't obviously haven't seen it yet, but this this was pretty cool. And thank you guys for tagging us because I'll go see it with you. Super jealous. I'll just like sit in the theater and do a video call with you the whole time. Let's do it. Let's do it. All right, here we go. Ethan's dad, Marcus, he's with us. Nico gave away this. I'm going to pause this for a second. This Blue Beetle model today on Uncle Jesse's El Ligu giveaway stream. Oh, that would look good in the Quantum Filament. That's it does. Does that have a giant layer height or am I just seeing kind of the artifacts of the curse of silk? It doesn't look like it has a huge layer height to me. Yeah, no, OK, no, it's just a close up of silk filament. Yeah, yeah, it's so difficult to print with. Well, there's some there's some texture there. There's texture. Yeah, there's a lot of texture in this. It looks awesome. Yeah, I love it. Super cool. And I think it was great. Yeah, the color is perfect for for for that like character for that design. Yeah, super cool. Nice work there, Marcus. Loving it. Beautiful. Caleb's dream.  I'm very happy with it. 3D printed on multiple printers using any cubic black PLA and graphite powder. You know, when we eventually have a new house, one of these is going up. Ah, has to, has to. Look at that. That is too cool. That is really cool. That's sick.  Yeah, add something that. I would never think to do that, but that's super cool. It's just a. Oh, above his lightsaber to the lightsaber. Yeah, such a good piece. And it's awesome that it's like in tiles, right? Yeah, so if you go, if we go back here, you can see. You know, it's done in multiple tiles. Where did those? This is some very printed on multiple printers using graphite. So, like, what, where do these files come from? Did he design the files? I want them as my point. I need to know where I don't think he says here. Maybe no, that's why I'm or else. Give us the sauce. Oh, look, we need the sauce. Of course, he's he's showing off the set up here. Yeah. Oh, I didn't see how much. Yeah, there's a ton of height on some of those turrets. Oh, the turrets are awesome. Yeah. And there's LEDs. Oh, man. This is one of those that doesn't show right and still. Yeah, I would have never seen all this in the still. Ridiculously cool. This is sick. I we need to find out where do we get? Like, where do we get this? Maybe he made it. I'm not sure my. Everybody's like, do it. Do it. All right, next up. This is awesome, too. I think I saw this on Reddit, I think Reddit. Yeah, this is maybe. Oh, no, I think I saw it on YouTube. Yeah, this is gorgeous. Boom. That's what it looks like. It also makes me feel a little uncomfortable. Like many tentacles reaching out. Yeah, it feels like a sea creature. I shouldn't be touching.  Oh, yeah. The crane is on cults. Just I want a video of this one, too. Yeah, I agree. You know, that white is no pay to get those lights through. We all know about that from lithophane, but we don't think about it. Man, that looks sweet. Oh, look, OK, there's a little QR code there, too. I wonder if you can pick that up on your phone through show me. I'll leave it up there for a second. Oh, that's my face gross. All right. No, my phone is not scanning it. OK, next. 3D print bunny last but not least. This is another flippin' awesome piece, a integrity table. 3D print bunny has been killing it with these in the past. And this one, yeah, it just freaks me out. Like the design of the the pattern here. It just like totally is. This feels like it feels like. And I don't mean this in a bad way at all. But it feels like the combination of the weird like feeling you get looking at the top combined with the magic of the thing that's floating. This is like the physical the physical representation of having a headache. Like I saw this earlier and spent a lot of time looking and figuring out that it must print on its side. But how is this printing this way? Oh, yeah, you've got to lay it down. But I was like, man, that is really clever to do that. And her stringing is a very cool technique. Yeah, I am awful at bridging is like the worst. Yeah, she does such a cool. But the design she does on these, I printed a few of them and like either they go really good or really bad. You know, there's no like it sometimes might half work, but it's like a disaster if it doesn't work. Yeah, it's so cool. Man, she took some more photos and it's just like it's just gorgeous. Yeah, it's really super well printed and absolutely love it. That's going to take a minute to do all these. All those swaps. Yeah, a lot of changes. Yeah, the bridge master. Yeah, bridge master. I love it. I love it. All right. Well, we got to get fun. We have we have a good we have a stop tonight because Caleb has a meeting and we have some stuff coming up. But next week, study avocado in two weeks.  Yeah, so June 19th, we have study next week is still the avocado. Two weeks, twenty-six. See if I'm back yet for Murph. Is Murph, a Murph Poe show, maybe? We'll see. We'll see. It might end up being like a Tuesday. I don't know. And then July 3rd, we have a FR3D or Fred. The 3D printing retro maker after that and some more cool people following that. So that's just a heads up on what's coming on Hotmix. But I know we got to get flying before we do that. Jim, was there anything?  I'll look while he's one more time before we go. Who are you? What do you do? And most importantly, where can we find your stuff here in a couple of days that we're all going to go shut up and take my money? I'm Steve. I wrote you forage for my own personal use and everyone wants it. So I'm making it out there and you can find it at my Shopify, which is Horn and Rody Shopify, I believe. You have the link in the description, I think, and it was in the chat. And you can find me at Ask You Forge on Twitter, and I will definitely have those links up there or at my and my pay or my sub stack is there as well, which will have that information. We can't wait. I don't see anything in PayPal, so I'm good with that. OK, I just like to make sure we call people out. We well, I'm a man. I am absolutely crazy, excited for your stuff. Wouldn't we talk?  All right, before we totally get going, not. So we talk about subscribers on YouTube every episode, but I also wanted to say we're at 841 followers on Twitter. We're getting close to a thousand, so that's our that's my next milestone is let's see if we can get to a thousand by the end of the week. And John, before we leave, you'll get that email sent to you because you signed up for the newsletter. So when I go, you'll get it. And you'll be first to hear it. Nice, nice. Sweet man, thanks for joining us. This was fun. Thank you for having me. And I still I am only slightly less confused as to how it works. Once you print a few, you'll get it. OK, that's what I need to do. I have to physically, like, yes, make it worth it. You need to see it. All right, can't wait. I'm so excited to see what comes out of that. And congratulations on this because it's such an awesome. I can't even say it's a start. It's an awesome product now, and I can't wait to see where you go with it. And you've done amazing. I was really wanting to know who like how many people were on your team. But you know, let's let's check it out. Cheesy was a greasy McCheese says can't wait to try it out. So, you know, if greasy cheese can't wait, then. Then we're good. So anybody else out there, thank you guys for tuning in. I got to fly. We all got to get going. Steve, stay right there. We'll be right back with you and everybody else. We get we will see you next week with the studly avocado. There we go. One Mr. Gus. Yeah. Yeah, I heard he's in the pits. No, bad. She's a bad joke. OK, we're not going to have somebody else made a comment. And I can't find the avocado. Yeah, weekly guacamole. Yeah, we walk them all right. I love it. All right, guys. Have a great one. We'll see you next week. Bye. Later. Bye. Do it. You think don't. Don't, don't, don't. You were doing this bit for yourself, but I'm jumping in. Don't do it. I'm ending the stream. I'm we're done.


I think diversity needs to be a very deliberate decision. We have to be proactive about these things. We have to talk about these things. We have to absolutely be proactive and make an effort. It doesn't just happen. It's not an ad hoc thing. If you're not seeking it, it won't come to you because as human beings we gravitate naturally towards people that are like us. It was very blatant and clear that this approach and this attitude of, well, I don't discriminate, wasn't going to work. How do we become more fluent in connecting with somebody that is completely different from me? How do I communicate to these audiences? How do I connect with people that just do not hold the same viewpoint or perspective? You know, we're kind of still playing around at the margins. You know, I don't want to be selected to do a role because I'm a woman. I want to be selected to do a role because I'm capable and competent at doing the job really well. One of the ways to invite diversity across all sectors is to actually think of, rather than these things we don't have a choice about, being what makes us diverse, it's our unique gifts that makes us diverse as a people. It really stimulates creativity. It really increases productivity. It sharpens ideas. It makes everyone stronger and better. And all the statistics are proving this.


Hi everybody it's Sam here and I have a Craftworld exclusive tutorial showing you how to make this adorable pop-up box card. If you haven't made a pop-up box card before they're very fun and pretty straightforward to make as well. You can use any stamps and dies. I've used these handbags and shoes from my latest collection along with papers from the party paper pad that I have. These fold flat and they will fit into an envelope which makes it even better. I've got dimension on mine but of course you don't have to add the rosette if you don't want but when the person gets it they will know what to do. It's pretty self-explanatory it just stands up in this cube shape and you can see there it's got a really nice profile and it will look great on any mantle or side table. So if you'd like to see how I've made this then head over to Craftworld I'll share the links below and you'll be able to watch this tutorial completely free. There will also be a bundle offer so you can save some money if you do want to you know purchase any of the supplies that I've used today and yeah follow my page over there as well. Set up an account like I said it's all free to do. I share exclusive tutorials over on Craftworld along with all my other things that you see from me that's all over there as well so you won't miss anything. I hope you enjoy the tutorial and I'll be back very soon with another one. Bye!


Trivial. Redundant. Dogmatic. Useless. That's what people really mean when they say, oh, your argument is just a tautology. Indeed, one of the quickest ways to dismiss an idea is to label it as tautological, and therefore empty of content. The standard philosophic position goes like this. Tautologies are merely true by definition and cannot teach us anything about the world. Well, I couldn't disagree more strongly with this line of reasoning. Not only is it mistaken to dismiss tautologies, it's completely backwards. For three distinct reasons, tautologies are foundational for critical reasoning. They are the building blocks for an accurate worldview. First of all, we need to understand what tautologies are and why they are so frequently dismissed. A tautology is a proposition that is true in all possible circumstances. Sometimes people say it's true by definition or self-evidently true. The central idea is that it has no possibility of being false. Consider the sentence, all fish are fish. Is there any possibility of that sentence being false? Well, no. Therefore, it's a tautology. If a fish is a fish, then it's a fish. There's no exceptions. If we abstract one degree, we can see the structure of the proposition. It's saying, all x are x. Well, clearly no possible x could ever not be an x regardless of what x is. So we might say this abstract proposition is true in all possible circumstances. But does it tell us anything useful? The standard criticism of tautologies goes like this. Because of the fact that tautologies are necessarily true, they don't tell us anything new about the world. They cannot possibly be wrong and therefore they do not add to our knowledge. They are redundancies and they ultimately do not even need to be stated. A fish is a fish is trivial and it doesn't tell you anything that you didn't already know. Some people have called tautological reasoning circular or claim that it's merely begging the question. But this is all wrong. Tautologies are arguably the most important propositions in all of philosophy. They cannot be dismissed without throwing out a foundational tool for critical thinking. The first mistake is simple. Not all tautologies are created equal. Some tautologies are trivial, it's true. A fish is a fish by itself doesn't tell you really anything useful. But some tautologies are far more profound. So here are the three major reasons why the conventional thinking regarding tautologies is flawed. First of all, most obviously, tautologies become important when people deny that they're true. In a very peculiar combination, many ideas get dismissed as tautological while simultaneously being denied as true. The logical law of identity, for example, is foundational that A is A or a thing is a thing. And yet huge numbers of people deny that that's true. In an ideal world, I suppose the law of identity might never need to be stated because it's self-evident. But that's not the world we live in and huge swaths of people deny the truth of the law of identity. I call these people irrationalists and they usually appeal to the liar's paradox or flawed interpretations of quantum physics to justify their rejection of the law of identity. But the same phenomenon happens in economics. As I will explain in the future, the foundations for sound economic theory are logically deducible. They are necessary truths about the meaning of our concepts that all follow from the same premise that, quote, humans act. And because that theory is tautological, people are quick to dismiss it as, oh, well, it's trivially true. Yet in the same breath, those people will turn around and deny the truth of the tautology by arguing for price floors or ceilings in the case of economics. Well, you can't have it both ways. If the tautology is trivially true, then it mustn't be denied. If it's denied, then it's obviously worth restating. Second, and this is fairly heretical to orthodox philosophy, tautologies can actually teach us something new about the world. Lots of things, in fact. Consider an idea I wrote in an article entitled The Metaphysics of Logic. Even if an omnipotent God exists, he certainly did not create the laws of logic. Those laws bind everything in existence, without exception, including any omnipotent God. This conclusion is not hypothetical. It's logically necessary and tautological. Yet billions of people on the planet likely believe otherwise. A standard theological position is to say God created everything, including the laws of logic. But this is mistaken. Understanding why God could never create logic is neither trivial nor redundant. It's new information that can only be revealed after a deliberate exercise in logical reasoning. It tells you something new about the universe that you wouldn't know otherwise. Or consider an even larger set of truths, mathematics. Mathematics is fundamentally tautological. The equation 2 plus 2 equals 4 is true in all possible circumstances, given the meaning of our terms. Yet nobody would conclude, therefore, mathematics is useless and it doesn't tell you anything about the world. Well maybe mathematicians would say that, but nobody outside of mathematics would say such a thing. Math can tell you all kinds of profound truths about the world and few things are more concretely practical than mathematics. And that's because those truths are fundamentally grounded in logical and tautological reasoning. So even though careful mathematical reasoning can lead to absolutely certain conclusions, it isn't merely self-evident. Consider the equation 962 times 2231 equals n. Go ahead and use simple logic to find the answer. Well of course it's not so easy. The answer is n equals 2,146,222 and it couldn't be anything else. Does that mean that the solution is trivial? Well of course not. Just because something is necessarily true doesn't mean that it's irrelevant or worthy of dismissal. And it certainly doesn't mean that somehow you can know the conclusion beforehand. So the third reason and perhaps the most important is if we grant that tautologies are necessarily true, all we have to do is ask a simple question. Why? Why are tautologies necessarily true? Why can you know with certainty that a fish is a fish? In other words, what gives tautologies their necessary quality? Now you might be tempted to answer, well it just has to be that way. And that's precisely correct. And that has to be trueness. I call that logic.  Every idea, every thought is built on top of this kind of logical necessity. So not only are tautologies useful, they point to the very foundations of our epistemology. Nothing is more important or fundamental for somebody interested in the truth. Tautology puts the tautologicalness into tautologies. It's what all self-evident truth appeals to. It's why propositions can be true by definition. And one more confusion I want to clarify. Some people insist that tautologies are useless because they are examples of circular reasoning. Or sometimes it's more precise they called begging the question. Now colloquially, circular reasoning is where you assert your conclusion as a premise. So for example, Judy is the tallest girl in the class because she's the tallest girl in the class. Well this proposition merely states its conclusion as a premise. To some this might look like a tautology. A because A. But crucially it's not actually a tautology. There's an obvious circumstance and when that conclusion is false. If Judy is not actually the tallest girl in the class. It's a possibility which doesn't entail any logical contradiction. And that's what differentiates circular reasoning from tautologies. So contrast the proposition Judy is the tallest girl in the class because she's the tallest girl in the class. With the proposition all of the students in class are students. Now this is a proper tautology. There's no possible circumstance in which it isn't true given the meaning of our terms. And that means that negating the conclusion would imply a contradiction. I.e. that some of the students in class are not students. So no, tautologies are not circular. They're simply true in all circumstances. Or you might say they are not false in any circumstance. But being necessarily true is a very poor reason to dismiss an idea as trivial or redundant. It's a grave error to overlook the usefulness and profundity of tautologies. Not only should we examine them, we should embrace them and incorporate them into the foundations of our ideas. Discovering tautologies is exciting and it's literally synonymous with discovering the truth. It's discovering the meaning and the implications of our own concepts. And not to mention any sound deductions which follow from tautologies are also necessarily true. So if we construct theories that are founded on necessarily true premises, we can build a robust worldview that is justified all the way down to its foundations. To learn more about my books, check out stevedashpatterson.com


how you can outline your presentation. A careful prepared outline can be more than just starting points for composing a speech or presentation. You can write sentences or you can write phrases in the shape of notes that can help you. If you are going to include any sort of visual aids into your presentation, you must make certain cues for it, write certain notes into your presentation that where you have to include those visuals and where you don't have to use them. So making an outline line of the presentation is very important. Decide on the style, which style you are going to adopt.   Decide on an appropriate style on these basis.  Use a formal style for large groups and important events. Obviously when you know that you are talking to few people, you will be using an informal style and when you know that you are talking to a lot of people, you will be using formal style. In both formal and informal presentation, keep things simple. That is the main important thing. Your style may be formal or informal, but things are very simple. When things are simple, when you are describing your ideas in a simple manner, people are going to listen to you and when they will find simplicity, they'll be readily listening to you. Their attention will be more towards you. So after deciding on an appropriate style, develop your oral presentation. How formal presentations differ from formal reports. As I just said that organize your longer presentation like formal reports, but they're not similar. There is certainly a difference between the two and the difference is that formal presentation are more interactive with the audience. Obviously in formal reports, you are not interactive with the audience. Here you are more interactive. You can establish a rapport with your audience. So in this way, you become interactive. You use more nonverbal cues. That's the thing that makes it different from formal report. Nonverbal cues are very important to get your message across. Can you imagine a person talking to people without making any nonverbal cues? Nonverbal cues in a long presentation can help message get across.  So this is how it is different. Another difference is that in formal presentation, we have less control of contents. I mean in a formal report, the contents are very strictly controlled. But in a formal presentation, the control is not that much. Another thing is in formal presentation, there is greater need to have the audience stay on track. So to help the audience stay on track, you need to all these things. You need to make your presentation very interesting and to make your presentation interesting, informative. You have to think of the ideas. You have to think of all the steps that we've been talking about. You have to write your presentation very effectively. You tailor your presentation in a manner that suits the purpose, that suits the occasion, that suits the audience. So these are few differences between a formal presentation and a formal report. Otherwise they are similar. And the most important thing or the main similarity between the two is that they need to be worked out in the same way. They need to be spent time similarly. So far as the homework is concerned, they are quite equal.


So if they fail urine test in six months for nicotine or codenine, so it's like a real test, you can't just lie and say I quit smoking. And then, you know, people could put zero dollars in and in some sense, like an economist say, of course, put zero dollars in, why would you risk any of your money in case you don't quit smoking? But the reason you risk some of your money is if you don't, you're going to just put off that plan to quit smoking. You're an procrastinate indefinitely. But if you put your money where your butt is, and that is a joke that they made in the title of the paper, believe it or not, you realize you might quit because you don't want to lose the money. What's up everybody and welcome to the show today. We drop great content each and every week and we want to make sure that you guys get notified. And in order to do that, you're going to have to smash that subscribe button and hit that notification bell. And if you've gotten a lot of value out of this, make sure you give us a like and share our videos with your friends. Now you brought up another hurdle that I know many of us face in that procrastination. So impulsivity will lead to procrastination. And I know for myself, there are certain areas where I'll procrastinate and there are certain areas where I have the motivation to attack it. So what does the science show us around procrastination? And what are some strategies that we can use to overcome it? Yeah, and that was such a great way of asking the question because you're exactly right that impulsivity does lead to procrastination. So sort of first of all, you can for procrastination also use the strategy of trying to make it fun the Mary Poppins approach. But another way to tackle procrastination is basically to so one way is like the carrot. That's what we've talked about. You make it more fun to do the things so you won't put it off. The other is the stick. So you make it painful not to follow through. And by the way, this is sort of how other people manage us. This is how governments manage us when they know there's something that we ought to get done, but we might be tempted not to like we ought not to speed for instance, but we might be tempted to speed like we get fined, not going to let you do that. You're going to get penalized, right? Or we might be tempted not to get our work done and to play on social media. So our bosses like it's due on Friday at five, you know, so you can't just put it off and put it off and never get to it.  So the world other people are often structuring incentives in order to provide that stick if we procrastinate. But what's interesting is we can do the same to ourselves. We just rarely think to and doing this, creating incentives or penalties for yourself. If you fail to achieve your goals on time is called a commitment device. And economists have studied this strategy, they find it like peculiar that people will actually penalize themselves for bad behavior, like why would you do that? But it turns out to help people achieve their goals at a higher rate. And one of my favorite examples of a commitment device and just how powerful it is was studied by Dean Carlin and Jonathan Zinman looking at smoking cessation, trying to help people quit smoking, which is something that's really hard to do. And they randomly assigned people to two experimental groups. One group of people was just given the standard stuff like, here, here's how you quit, try to use these tools and quit smoking. And the other group got all the standard stuff to help you quit smoking. Plus they were given a savings account that they could put money into. So it had no money in it, but people could put their own money into it. But if they did not quit smoking in six months, any money they put into that account would disappear. So if they fail urine test in six months for nicotine or codenine, so it's like a real test, you can't just lie and say I quit smoking. And then, you know, people could put zero dollars in and in some sense, like an economist say, of course, put zero dollars in, why would you risk any of your money in case you don't quit smoking? But the reason you risk some of your money is if you don't, you're going to just put off that plan to quit smoking. You're going to procrastinate indefinitely. But if you put your money where your butt is, and that is a joke that they made in the title of the paper, believe it or not, you realize you might quit because you don't want to lose the money. So a fraction of people did use this tool. But what's more interesting is comparing the two groups, those who had access to the tool and those who didn't, you see a 30% higher quit rate among the folks who had a way to penalize themselves if they didn't successfully quit smoking. So that's just one strategy. You can form what's called a cash commitment device.  You can sign a pledge and so on. But the cash commitment has the most teeth. And I think it's a really cool tool. And there's websites like stickstckk.com and bminder.com. PS, I do not make any money from those websites. I just think they're cool where you can go put money on the line and, you know, choose a referee who will hold you to it, hold your feet to the fire so that you will have extra motivation not to procrastinate when it comes to achieving your goals. This feels like it aligns completely with Daniel Kenneman's work on that fear of loss being way more impactful than whatever we could gain. Of course, we want a six pack, but losing money, losing to our friends. When I first moved to New York to start the company, I wasn't cooking. I was eating a lot of takeout. I had gained a lot of weight and me and two friends made a bet. We pledged one full paycheck, which at that point was really painful. And whoever lost the most weight got the other two buddies paychecks. And sure enough, we all three of us blew past our goals. And it wasn't just competing with friends, but that financial commitment definitely supercharged our efforts in that. So it's such a great highlight. And I'm so happy that there are services that'll do exactly that.  Although you can do with your friends too.  You don't have to give money to one of these services. Your friends will certainly be happy to hold your cash for you. Of course, now you risk the friendship if something goes wrong. So maybe you do want to give your money to these services. We drop great content each and every week. And we want to make sure that you guys get notified. And in order to do that, you're going to have to smash that subscribe button and hit that notification bell. And if you've gotten a lot of value out of this, make sure you give us a like and share our videos with your friends. I certainly have read some books and seen some research talking about how you have to be careful what you're going to incentivize yourself with. You certainly, if you're on a diet, you don't want to be rewarding yourself with a certain cheat day or well, if I don't drink all week, I can drink on Saturday. These things will only, I think they tend to muddy the waters from what I've seen and dilute any of the stick or carrot that it's supposed to act as. I mean, it's certainly the case that you have to be thoughtful about how you incentivize yourself. So temptation bundling actually is an area where I've always sort of laughed about like, you know, if your goal is to get fit and you reward yourself for every gym visit and you sort of temptation bundle with some really unhealthy treat, that's not going to turn out to be in your best interest, even if it motivates you to go to the gym. So absolutely in all of these cases, when you're thinking about these tools, you want to make sure they aren't actually undermining your, your higher order goal just to get to a micro goal that's like, that's on the list. Now, one of the hurdles that I think is a little tougher to admit, even for myself personally is laziness. There are certain areas of my life where I do not feel lazy at all, but there are some that my fiance and partner certainly feels that I'm lazy. So when it comes to laziness being that hurdle to the change that we really want, what does the science show us as a strategy or two that we can fight through that? Well, first, I just want to tell you, I think you should embrace laziness because I think it gets a bad rap and laziness is kind of awesome, right? Like it's this feature of human behavior that we evolve because it means that we can get to the fastest, most efficient solution, right? You don't want your algorithms on a computer to take a long time to return.  And I think it's great that humans are lazy. It makes complete sense, but it's, it's just something that we have to be aware of, like all of our other features and think about how can we use it to our advantage rather than our disadvantage. And when it comes to change, obviously, which can be effortful, being really aware of this feature of human nature that we like to take the path of least resistance is important. There's sort of two ways that I think about harnessing laziness and turning it from a limitation into an asset when you're trying to make a change. The first is really simple and it relies on probably the most successful finding from the behavioral science literature in the last, I'll say 30 years, sort of our blockbuster discovery, which is that people will accept defaults passively. And that has this huge impact on behavior. What do I mean by default? I mean, like, you know, when you get a new computer, what's the browser that's installed that you just open automatically? Like, I don't know what, what are the fonts that are in the background? What's the background? My background is still the same background that my computer came with.  Do they put 2% milk, 1% cream? I don't know. Whatever it is, they have some default and you can always override it be like, excuse me, I'd like my, I'd like my latte like this, or you can change the computer's settings. But most people won't. A lot of the time will just passively accept the default. So that's a major finding. It's been used actually to get people to save more for retirement. Turns out if you default new employees into automatically saving for retirement, having a portion of every paycheck deducted and put in a 401k, it dramatically increases saving rates over defaulting them not into saving, but making it really trivially easy to become a saver by just like checking a box. So we can structure our own environments to take advantage of this tendency because we take that path of least resistance. We're lazy. We go with the default. If we can set up our lives, so the default option is the healthy option or the option that aligns with our long-term goals and our goals around change can be really effective. Right. So like what you keep in your pantry, those are the default snacks. What your browser homepage is, whether it's social media or a newspaper where you want to be reading more great news coverage of some topic, we can structure our lives so that the path of least resistance is better aligned with our goals. And I think we don't spend enough time thinking about doing that. The other thing is habits. Habits are like our defaults for repeat behavior. And we talked a little bit about those already and when we're building them, it's actually really important to have some flexibility and sort of experiment and explore what's the right time is the best time so that you can find and build that flexibility into your life. So it's like, I'll always go to the gym. I've built a way that I get there no matter what, but in general, the rule for building habits from research is you want to find consistency of to some degree, like a few times that might work for you, cues that might trigger you to do it. You want to engage in the behavior repeatedly and you want to reward yourself when you succeed, whether it's by announcing it on social media to friends or buying yourself a treat that doesn't hopefully compromise your long-term goals. If you repeat a behavior enough and reward it, eventually it does become habitual. You start doing it more automatically and less effortfully. And that's another way that we can lean into laziness and let those habits take over and make everything easier.


This study assessed the accuracy of cladonia classification using both UAV and satellite sensors in a rocky Canadian shield landscape near Yellowknife, North-West Territories. The results showed that random forest classifications derived from Microsense Altum had an average 5% higher accuracy for mapping cladonia than when using a conventional colour RGB camera. Worldview models at 6M resolution outperformed planet models with an average relative IMSE of 6.8% and 9.9% respectively. However, the small cover of cladonia in the study area resulted in a high relative IMSE expressed as a proportion of mean lichen cover. This article was authored by Robert H. Fraser, Darren Pouliot, and Jurgen van der Sluits.