We were looking at the non-linear pendulum. We had written down the equation of motion for the pendulum. It was found to be d square theta by dt square plus g by L sin theta equal to 0. We wanted to solve this equation subject to the initial conditions that I give the pendulum an initial angular displacement and 0 angular velocity. So, theta of 0 is theta 0 and theta dot of 0 is 0. Now, the first thing that we noticed already was that the normal mode approximation will not be appropriate because this is a non-linear equation. So, if you substitute theta is equal to some number A into e to the power i omega t, this non-linear equation we will not be able to satisfy this and do it the way we did it in the case of linear equations. Now, we also discussed that this equation is typically solved in the small angle approximation where sin theta is approximated as theta. This is typically expected to be valid when the initial displacement theta not is small. So, when theta not is sufficiently small, then you can expand sin theta and replace it by this first term in the Taylor approximation as theta and then the resultant equation becomes a linear equation in theta. This equation is amenable to normal mode analysis. Here the equilibrium state is one where the pendulum is horizontal. So, that is the base state. So, when we write theta is equal to A e to the power i omega t on the linearized equation it works and leads to a frequency relation which tells us that omega 0 square is equal to g by n. Once again like before the amplitude A has to be determined from initial conditions and it is in general a complex number. Now, before we go further discuss our solution of the non-linear pendulum in terms of elliptic functions, notice that the frequency of the linearized pendulum is purely a function of the system parameters, the acceleration due to gravity and the length of the pendulum l, the length of the string which we have assumed to be inextensible here. In particular, notice that omega 0, the natural frequency is independent of theta not and the angular displacement with which we leave the pendulum at time t equal to 0. Let us look at the solution to the exact problem without doing this linearization and let us learn about the features of the non-linear problem. So, we started by looking at the energy of the pendulum and we wrote an equation of this form. We equated instantaneous energy to the initial energy. In this case the initial energy is purely potential energy and it finally led us after some algebraic manipulations it led us to an equation which was of this form. Notice that this is already a first order equation and that is because we did not start with the equation of motion but we started with the first integral which is the energy. Now, let us continue further. So, we found that d theta by dt is equal to plus minus 2 omega naught sin square theta naught by 2 minus sin square theta by 2 d power half. Now, our next task will be to integrate this equation and I will show you that we can using a simple set of manipulations. We can convert this into elliptic integrals. Once we convert this into an elliptic integral, we have already discussed the elliptic integral which can be expressed in terms of the inverse of the elliptic functions and so that will allow us to express theta as a function of time. So, let us continue. So, I will write this as plus minus 2 omega naught dt is equal to this is just a simple algebraic rearrangement and then let us substitute sin theta by 2 to be equal to z sin theta naught by 2 equal to k. So, you can see that this is the same k that we had introduced earlier in the case of elliptic functions. This was a measure of the shape of the ellipse. So, k square was between 0 and 1. You can see that if you have defined k as sin theta by 2 then k square is between 0 and 1 and it is never negative. So, now we have to go from theta to z. So, let us express, so this is our relation which is allowing us to do this. So, I can write this as theta by 2 is equal to sin inverse z and so half d theta is equal to 1 by square root 1 minus z square dz. If I substitute it into this equation, I would write to replace theta by z. So, the equation becomes twice omega 0 dt is equal to twice dz divided by square root 1 minus z square into square root k square minus z square. Now, we can do one more round of substitutions but before we do that, let me pull out, so I can cancel the 2 and the 2 here and then I have dz by, I will pull out a k square from this part and so the k square will come out as k and this is z by k whole square. And now let me substitute z by k, I will define it as some zeta. So, once again dz is equal to k d zeta and if you express it in terms of zeta then this just becomes k d zeta divided by k into 1 minus k square zeta square into 1 minus z by k zeta zeta square. So, what we have done, you can see why we are doing this. So, what we are doing is we are going from theta to z and from z to zeta. You can see why we are doing this because we want to convert this into a standard form of an elliptic integral and you can already see that this is coming in the form of an elliptic integral that we have seen earlier. So, now we can integrate both sides and then express the right hand side in terms of elliptic integrals. Let us do that. Now, before we go further, let us keep track of the initial conditions. So, I will put a box here and recall that my initial condition was theta of 0 is equal to theta 0, theta dot of 0 d theta by dt was chosen to be 0. I went from theta to z and the transformation was this. So, z of 0, so when theta is 0, so at t equal to 0 theta is theta 0. So, this is sin theta naught over 2 and z dot of 0 you can see is 0 that you can see very easily from this equation. If you take the derivative with respect to time on both sides, you will get a dz by dt on the right hand side. You will have to take the derivative of sin theta by t with theta by 2 with respect to time that will give you a cos theta by 2 into theta dot. If you apply this equation at t equal to 0, then it is cos theta by 2 which is cos theta naught by 2 into theta dot and theta dot is 0, hence z dot is 0. So, initial conditions from theta to z transform like this and let us see what do they transform on zeta. So, zeta of 0, zeta by definition is z by k, z of 0 is sin theta by 2, sin theta naught by 2 and k is also defined as, recall that k is defined as sin theta naught by 2, so zeta of 0 is normalized to 1. You can also see that zeta dot of 0 is equal to 0. So, this is, these are our initial conditions on the three variables. So, now let us rewrite what we had written in the earlier page. So, we had written t zeta by dt is equal to plus minus omega 0 1 minus k square zeta square to 1 minus zeta square. Notice, we have also seen that the initial condition is 0. Notice that this is redundant because in this equation, in this equation if you put time t equal to 0, so then the left hand side becomes zeta dot. So, zeta dot of 0 is equal to the right hand side evaluated at time t equal to 0 and you can see that this term would take the product to 0 because zeta of 0 is 1. So, the whole thing is automatically 0. So, this condition is automatically satisfied. This is not surprising, the reason is because we have derived all this with taking into account 0 velocity initial conditions. So, the 0 velocity initial condition is built in into the form of this differential equation. In any case, this is a first order differential equation and we would not have been able to satisfy. They would only once we integrate this there will be only be one constant of integration and we cannot satisfy two boundary conditions or two initial conditions using one constant. So, it is this condition is automatically taken care of and we only need to determine the unknown constant that appears here using this. So, that is consistent. So, let us continue further and so, if I integrate this equation, then I will write this as omega 0 into some 0 to some time tau dt is equal to minus and I will explain why I choose the minus sign. Let me just go ahead and I will remember to explain the minus sign. I will also explain the limit, but let me write down. So, what I have done here is I have integrated it from time t equal to 0 up to some time tau. On the right hand side, I have replaced the zeta that appears with a dummy variable L and I have put the zeta in the limit of integration. This thing comes because when time is equal to 0, zeta is equal to 1. So, we are integrating from 1 to some value of zeta which is the value the zeta takes when time is tau. So, you can see that this is going to we are integrating it up to some time t and if I carry this forward, then you can see that I can write this as so once again. So, we will explain why we are taking this minus sign, but let us right now let us take this forward with the minus sign and in the next exercise, I will explain why did we choose the minus sign. So, you can see that this integral minus 1 to zeta with an integrand can be written as 0 to 1. So, what I am doing is you can see how I have written this, this integral I am not writing the integrand because it is the same in both the terms, but this integral 0 to 1 can be split up into 0 to some value of zeta plus zeta to some value 2 to 1 and then this is 0 to the xi. So, this part can be written as these, this part is just this, this term the first term and the third term cancels each other and what I have left is an integral which is xi to 1, but what my original integral was 1 to xi. So, this integral can just be written as minus of 1 to xi that is the argument using which I am splitting it like this. So, the argument that I am using here is I am writing the first integral. So, the first integral is 0 to 1 and the second integral is 0 to xi and I am writing this as 0 to xi plus xi to 1 minus 0 to xi and this the first and the third cancel each other and the second one can be written as minus 1 to xi which is our original integral. So, that is the argument which I am using here. So, this is useful because you can see immediately that both the integrants are exactly in the form of elliptic integrals. Now, this is what is known as complete elliptic integral of the first kind and this is what is known as incomplete elliptic integral of the first kind. You can see this is the first one is a definite integral, the second one is an indefinite integral and so this is the first one is called complete and the second one is called incomplete and we have seen earlier that these are related to Sn inverse. Now, there is a very standard way of writing down the first integral I will just use that standard notation. The standard notation, so you can see that this is the first integral the complete elliptic integral of the first kind depends on one particular parameter L is anyway going to be integrated over and the limits of integration are constants they are just numbers. So, this integral is just a function of k, small k. So, the way to write the complete elliptic integral is the symbol big k and big k is actually a function of small k. Small k recall is the modulus of the elliptic function it is related to the shape of the ellipse. In this case small k is sin theta naught by 2. So, the magnitude of small k is determined by the initial angular displacement that I am giving to the pendulum minus this is second one is just Sn inverse of zeta. So, you can see that I can now write this as Sn inverse of zeta is equal to k minus omega 0 tau and we can rewrite that as I can shift the Sn to the other side that would give me a zeta of tau is Sn and recall now that I am going to now remember that Sn actually depends on two arguments the first one is u. So, the value of u is k of k minus omega naught into tau and the second one is small k itself. So, you can see that we have solved the pendulum in this form in terms of the Sn function. Let us go back to our old variables we had to recall that we had gone from theta to z to zeta. So, if you do the reverse transformation you can show that theta as a function of tau sin inverse I am replacing all the small ks with sin theta naught by 2 Sn has two arguments this is the exact solution to the non-linear pendulum for theta is equal to theta naught theta dot is equal to 0 is equal to theta naught theta dot of 0 is equal to 0. A rather complicated looking formula you can see that the sin inverse comes because we have we had written our answer in terms of zeta and then when we go back from zeta to z to theta there is a sin transform in this. So, you can see that there is a transform which expresses z as sin theta by 2. So, this is the transform that I am talking about sin theta by 2 is equal to z. So, when we wrote down our final exact answer in terms of zeta we have to go back to first z and then we have to go back to theta that will involve a sin inverse. So, the final answer contains a sin inverse. Now, you can see that this is a very rather complicated looking formula it is difficult to visualize what does the solution look like one can anticipate that theta will be an oscillatory function it is an oscillatory function. However, this is telling us that for large angles theta naught much greater than let us say 1 it is not going to be a sinusoidal or a cosine function of time. We will plot this later when we do perturbation methods at that time I will show that even if we did not know elliptic functions we can solve this equation in an approximate manner using perturbative techniques at that time we will compare this exact solution with the perturbative solution. Now, let us explore this solution a little bit further in order to understand what are the qualitative features what are the qualitative features of a nonlinear oscillator. This represents a nonlinear oscillator and so it is interesting to ask what are the qualitative features of a nonlinear oscillator. So, for that we can either plot this function or we could try to extract some other information from it and see what can we understand qualitatively about a nonlinear oscillator. We will definitely plot this as I said earlier, but let us explore a more qualitative way of understanding the important features of a nonlinear oscillator which distinguishes it from a linear oscillator. Recall that we have found that the linear oscillator when sin theta is replaced by theta then omega square was given by g by L. I had also pointed out that the frequency the linearized frequency frequency or other frequency squared is independent of theta naught. Now, would this also continue to be true for a nonlinear oscillator? Would the time period of the pendulum remain the same independent of how much I give it any. So, if I take two identical pendulums and under identical conditions if I start one at an angle of 1 degree it would oscillate at a small angle and if I leave it the other one at an angle of 45 degrees it would oscillate on either size up to angle 45 degree. Would the time period of both the pendulums be the same? Linear theory says yes they would be the same. The question is for initial angles as large as 45 degree is the linearized approximation a good approximation. So, for that we will explore something called a phase portrait which will tell us the qualitative features of the nonlinear ordinary differential equation that we have just solved exactly. So, this is a very useful tool of visualization particularly when there is only one or at most 2 degrees of freedom. In this particular case the phase portrait can be drawn quite easily. We will do it in the next video.


You know, so I need everything to get in time a little better and I feel like the only way to do that is to let the cow pull those front feet through instead of me trying to force her to move them, I just want the cow to pull them and I feel like the only way to get that is to go to that cow's hip a whole lot and let that cow drag them out of those turns and and let the cow pull and pull and then come back to the middle.  I wanted her to think to go to get out. Feel that, feel that, right now, help her through that turn. I want the cow to initiate the turn right there then we'll help her through the cow to initiate it. I didn't have to help her that time, it would have moved her feet. There we go, there's moving her feet. Help her through that turn.


DREAMScape Presents Leaving Lyman by Lisa Klein Ransom Narrated by Deon Graham Daddy 1 Parchment Farm, Sunflower County, Mississippi, 1938 Maul and Grandpa's didn't tell me nothing, said we were going on the train. For my house I could sometimes hear the train whistle on quiet nights. Grandpa's used to tell me stories about trains that carry people to places far away to a town I thought was called North. Turns out that wasn't the name of a town at all, just a place people bought a ticket to. Ma made a mess of food, she spent all Saturday cooking, and the house smelled like fry and grease and pickle. Sample complete. Ready to continue?


Hello and welcome to the session. In this session we discussed the chronic question which says, from an external point Q, tangents Qt and Qt dash are drawn to a circle with center O. If p s is the tangent to the circle at a point A and Qt is equal to 10 centimeters, find the perimeter of triangle Qps. Before moving on to the solution let's recall one fact which says that the lengths of tangents drawn from an external point to a circle are equal. This is the key idea that we use in this question. Now let's proceed with the solution. Consider this figure. Let's see what all is given to us in the question. We are given that Qt and Qt dash are tangents to the circle. Then p s is also a tangent to the circle at point A and we are given that Qt is equal to 10 centimeters. We need to find the perimeter of triangle Qps. Now since we know that the lengths of the tangents drawn from an external point to a circle are equal, therefore we have Qt is equal to Qt dash since they are the tangents from the external point Q. Then also we have pt is equal to pa as they are the tangents from the point p. Also as is equal to st dash as they are also the tangents from the point s. Now the perimeter of the triangle Qps is equal to the sum of the three sides of this triangle that is Qp plus ps plus sq. Now from the figure we have that Qp is equal to Qt minus pt then ps is equal to pa plus as and sq is equal to Qt dash minus st dash. Now since we have pt is equal to pa therefore this would be further equal to Qt minus pa plus pa plus as plus. Now st dash is equal to as so here we can have Qt dash minus as so this is equal to Qt minus pa plus pa plus as plus Qt dash minus as now pa and minus pa cancels as and minus as cancels and this is equal to Qt plus Qt dash. So we have the perimeter of triangle Qps is equal to Qt plus Qt dash and this is equal to two times Qt since we know that Qt is equal to Qt dash. And we are given that Qt is equal to ten centimeters therefore we get the perimeter of triangle Qps is equal to two into ten centimeters that is equal to twenty centimeters is the perimeter of triangle Qps. So twenty centimeters is the required answer. This completes the session. Hope you have understood the solution of this question.


Hello, hello. Welcome to my channel. For today's video, we are going to do a first impressions of the brand-new Wayne Goss Pearl Moonstone palette. This is hard to open. Oh my. Why do they do this? I can't open. Okay, the Pearl Moonstone palette from Wayne Goss. I love that name. Pearl Moonstone. That sounds beautiful. Let's dive into it. Hi guys, if you're new here, my name is Morgan. I'm a product knowledge enthusiast. I just love knowing anything and everything about all of the brand-new makeup on the market and sharing my thoughts with you guys. And yeah, so far I've reviewed just about everything Wayne Goss has come out with. And I was really excited about this one because I love cool toned colors if you are familiar with my channel. And I always love a good blue, cool, smoky eye. So I saw this and I was like, this, this is a look that I like. I like what I'm seeing here. We're just going to do it kind of old school. I don't normally do first impressions reviews like this too often. But since there's only six shades, I figured let's just dive into it. So let's take a closer look at this guy. So it does come in the same packaging that the previous palette came in. I struggle with this clamp closure. I don't know why. But anyways, it's just really sleek, simple packaging made in the USA 24 Mother Shelf Life. And it is going to cost you $55 at BeautyLish. It still is currently available. Along with this, there was a couple of his eye colors that came out. Really cool deep amethyst and blue sapphire.  So I can't speak on the new colors, but good eye color. And you can get that in a bundle. But I decided to just go with the palette. So in here, you are getting three finishes. So in here, you are getting three mattes, two satins, and one celestial shade, which is very, very glittery. I absolutely loved his marketing with this one. The main photo is of a more mature woman rocking a blue smoky eye. And that makes me happy because that is his target demographic is more mature women. And I think he's doing a really great job with that. I think it's just very refreshing based on what's on the market right now. Oh my goodness. I'm wearing that hourglass concealer and it's creasedopia right now. It's making me look like I have wrinkles. I haven't watched any reviews on this palette, but I've even gotten comments from you guys. It seems that maybe the reviews are mixed on this palette. Like I said, I haven't watched any, but I'm just unfiltered. Let's just get into it. I'm going to start off by swatching these live. We have a satin shade and the shimmer and then the matte. And you guys know how I feel about the pan sizes and the price. I don't want to harp on it too much. But yes, I do wish the pan size is for smaller for a lesser price and I hope that he does that in the future. So one, two, okay. Wow. Yeah. Okay.  Now I did swatch it earlier and it gives a very, very pretty finish on the skin, but it's not really going to give you color. It gives almost like a pearl sheen. But other than that, it doesn't swatch very well. But everything else really seemed to swatch pigmented, pretty buttery. He doesn't have the most smooth and like creamy formula, but that's okay. I don't think that's always necessary. Sometimes brands make it so smooth and creamy or the shadow just kind of meshes together. So I think it's fine that the shadows aren't super creamy. I don't want to do this. Let's just let's create a pretty look. I'm going to start off with this shade right here. I should use my Wayne Gotts brushes, but they are so dirty right now. So we're going to start off with this pearl shade right here. It's supposed to be peachy. I don't think it's very peachy. Let me get closer. Hello. I'm going to do, yeah, so this is going to be more of your highlight shade. It definitely looks like it would be deeper in the pan, but it's actually quite brightening. So I don't know if you can see it's not going to give you payoff or the color that you see. It's more so going to give you a glow. I mean, honestly, that's really pretty, but I think if you're using it as an olive or lit shade, that might be a little bit disappointing. But the reason why I applied it where I applied it is because when I swatched it, I noticed that it had no pigmentation. This makes it really pretty highlight though. Now we're going to go into a gray shade. I'm not going to do any crazy unique look. I feel like so many looks have been done with this palette that I can't be that much more unique with it. I just really want to play with the formulas here. And I have concealer on my eyelid and I did not set it. I mean, that blended out really nice. Honestly, the pigmentation, it's not too much, but it's showing up perfectly. Like I don't feel like I need more pigmentation and it's blending out really, really nice. Now we're going into this deep charcoal shade. Now this shade is not giving me as much pigmentation as I would like. I feel like I would want this to be really, really punchy. I feel like it's not different enough from the crease color that I just applied. It is a little bit patchy too. I don't know if you can see that, but there is skin that you can see through. I'm going to see if I can doctor that. Yeah, it's definitely giving me a little bit of patchiness in this area. Let's continue on with that. I'm going to take the shimmery gray and I'm going to put this all over my lid. I'm just going to use my finger and this is a nice soft satin shade. It's not going to give you a big punch of color or anything, but that's what you need to consider with his brand. It is made for a more mature skin type and he's really blingy metallic foiled colors. Just aren't going to be the most flattering and obviously rug whatever you want. But this is like what you learn in makeup school, you know, it's just kind of a known fact that the shimmers is going to emphasize texture. But that's okay. Like I really like it. I think it's really pretty. To write home about, but it worked well. And that's kind of the texture and finish you should expect from the brand. I'm going to run this along my lower lash line and we're going to deepen right here.  I guess we should. I liked his black in the last palette. I'm going to assume this is the same formula. I'm going to apply this to the outer V. It's black so don't apply too much at once. Here's a light hand, little by little. I mean, that's working out fine for me. Let's go all along the lower lash line. Just go really smoky. Why not? Now apply my black eye coal. The black is super pigmented. And now I'm going to take just a little bit of the celestial shade and I'm going to apply that to the center of my lid. No glitter glue. And that is stunning. And I'm going to veil it over the inner and outer corner. I mean, I really like that look. That's really, really pretty. Okay, I'm going to do the other eye, do liner and lashes. And then I'll be back to kind of tell you my final thoughts so far. So here is the final look. I didn't do this on camera but I actually ended up going in with the black for a shadow liner and it worked really well. And I actually used this shade right here as a highlight. I thought it would be gorgeous and I was correct. So here's the thing. I had a lot of people messaging me telling me that other reviews were bad. Tantalia gave this palette a really bad review. Like, they just wanted to know the truth. And I've got to be honest with you guys. I didn't have a bad experience with this palette. There are some things to note if you are eyeing this palette. Number one, I think that these shades are too close to each other. I didn't find this one to have much more depth than this one. And this shade in particular I noticed was a bit patchy. I don't think this is the best quality gray that I've ever used. Gray is a little bit more difficult to formulate. However, this just, it wasn't the best gray. You could see in my demo that there was some patchiness. I didn't think it was horrible. I felt like I was able to doctor it and make it look okay. But yes, if you're a beginner with makeup, this one did show up a little bit patchy. With this shade, you might be disappointed in it because there is no pigmentation or color payoff. For this guy, it's going to be more so about the finish. And I personally like that, but I can see a lot of people not liking that about this color. It's my highlight today. I think it's gorgeous. It gives off that pearly finish as my inner corner highlight. And under brow highlight, I think it's stunning. It's nice and subtle. So I actually like this shade. I wasn't expecting to, but just know what you're getting with that. Again, with his satins in general, they are not going to be really, really blingy. They're a satin. And satin shades are not very trendy right now. So not a lot of people use satin shades. I think it's a nice satin shade. I think it is great for mature skin. It was nice and soft. I didn't mind the shade. It's not necessarily the most gorgeous color in the palette, but it's a nice gray satin. I didn't have any problems with the black, but of course I am always very, very light-handed with my blacks. And I thought that the blue shade was absolutely stunning. He does a really nice job with his Celestial formula. I think it is so, so fun. So I think that this palette is so, so. I don't really know that it's worth $55. I do think since there's a black in here, this shade maybe isn't the greatest. This shade is not the greatest. And these two are very similar. It's definitely not a need. I definitely would say I like his first one much better. I think it was executed better, but it's okay. You know, if you like this color story, you can definitely make it work.  So anyways, I hope you guys have found that review helpful in some sort of way. Let me know your thoughts below. Have you tried this palette? Did you have the same experience as Temptalia? Or did you not mind it like me? That is all I have for today's video. I hope you guys enjoyed it. If you aren't subscribed to my channel already, I would absolutely love it if you would consider taking the time to do so. And I'll see you guys in the next one. Bye. Have a good one.


You know I'm a Green Senator of course at some point or other in my life I've consumed cannabis but you know I sit in here right now I'm a good little Green Senator I don't consume recreational cannabis we think that there's an unstoppable national momentum towards legalising cannabis it's a question of when not if in our mind. I have spoken to many parents over many years in relation to their children who have utilized drugs and even cannabis it can change people's lives and not for the better. If I go into a coffee shop quite frankly I'm happy to have a normal cup of coffee. The majority of people who continue to use cannabis use it socially they use it instead of having a glass of wine and I know myself I would prefer to be able to enjoy a joint on a Friday night with friends in my home and feel like I should be able to do that. Our main motivation here is ending that criminalisation of people simply for consuming cannabis.


Hi, I'm Amit Thambyar. I'm a computational designer. I studied architecture, the building kind, and then I moved into programming and trying to use programming for creative applications. So the whole presentation is more design oriented, so if at any point, if I'm not clear or specific, feel free to talk. Let me tell you quickly what I mean by computational furniture. So this is the idea where I write a script which converts human parameters like age, weight, people, that people who are not familiar with programming or like logic or those sort of stuff can associate with, and convert it into a meaningful piece of CAD geometry, which can be good for fabrication, so that people can make furniture for real, and it's not playing. So between this and this, this is just a screen graph, there's a logic which translates these parameters into geometry, and it's giving a bunch of information which is useful for fabrication and also like the design itself. And this right now running is in an environment called Rhino and Grasshopper, which is kind of popular in the field of architecture and computational design. It gives you a programming environment to program 3D geometry.  So this makes it easy, but it's constrained to a desktop environment. So that's the fabrication part that I was talking about, like you take that vector file which is created on the fly, feed it into a CNC machine, which is basically, like you can think of it as a 3D printer, but just two dimensional, and you cut pieces out of plywood. And you assemble it in a certain log, like in a correct way so that they all interlock and provide structural rigidity. And then you end up with pieces like these which are really good to sit on. Some more examples. So that is how I started off with this, like this doesn't yet relate to JavaScript. I started that like a few years back and I made a bunch of samples and then was experimenting with the idea. But it was really cool to like, like interested to try make it more accessible. And that's how I thought of JavaScript. And then sort of like doing the same process, but on the web in the browser. And this is a live demo of search. It's the same thing that you saw. So it gives a representation of what the furniture design would look like. And the logic which I was mentioning earlier, which was in Grasshopper has been like, it makes it easier to do it in JavaScript instead of Grasshopper. And it makes this translation of the logic into this. And by clicking this, it gives you the file that you would need for anyone with access to a CNC machine to fabricate it. So this project, how I started off with has grown a little. And then now it's become more like a web app with a bunch of different moving components which allows anyone who's interested in this sort of idea to experiment and play with this. And so like when I started off with this, the idea was to make anyone who wants to make such sort of furniture make it easier for them to do it. Make it easy for the makers that who fabricate the thing to actually take it and make it out of plywood. Easy for them. Like they shouldn't need to know the complexities of JavaScript or furniture design or any of that. And then also make it easily accessible. So like what the web kind of fit perfectly into this. And this is the part that I'm talking about. The stuff that I'm working on is like stuff within the dotted line. And these are independent people who I think like might work with the platform. And the design that you saw earlier, that was like a prototype, which I made because I've been working on it, but that could be anyone. And the idea of encoding furniture design as a JavaScript file, those are these people. That's what I assume. And the makers are different people who can just like download a file and get it made and fabricated and whoever wants it can use it. So a little bit about how it's been going. So it's been going fairly okay. Where like it's like more and more people are taking interest in it. And there are different parts of it, right? Some people who want to make such furniture, some people who want to fabricate it and everyone has a different take away from it. A bunch of stuff that I think it might lead to is like reducing an entry barrier for furniture. This is like the more design oriented stuff. Like right now it's kind of difficult for furniture. Designers just start off with fabricating furniture because you need a studio, you need to line up with like production facilities and all of that. This might help, like this kind of approach might reduce that. Within aspects of furniture design, like I think this is far more interesting for me personally. It opens up like a new dimension of exploring furniture. Like conventionally furniture is a thing which is fixed, designed at one point in time and everyone's using it. But when you are able to program it, you can think of like different ways of how you wanna modulate the proportions, the different parts of the furniture to make it like either specialize it for something, for someone specifically specialized for a region or any other creative applications. Like I'm not sure how it could go. And then the idea of like everyone being able, everyone having access to the same quality, same standard of furniture, irrespective of where you are. Like the whole logistics part of it, it breaks down because when you're like calling for furniture, you're not ordering it like ship it from somewhere in the world, but you're just sending all the file to the closest maker around you who can make it for you. And this is kind of like I've bootstrap this heavily and a bunch of different technologies that I'm using to try to keep this up. So for a designer, a lot depends on like using understanding it, how to make it work. Like it's not central, but it's just like to collaborate with the community I would say.  So the app and everything that you saw runs purely client side, nothing on the server side. And it's like this semi-hacky way put together to make it run. Yep, and like that was the main chunk of my presentation, which wasn't really focusing a lot on the technical bits of the JavaScript because I made it for another presentation. But the idea of this part was I perceive might be something useful, like valuable, where like you don't need servers or anything to do this. Basically every, like all the processing, the CAD engine, the kernel happens on the client side, which is not like CAD kernels are pretty computationally expensive. So it doesn't usually run on the front end, but using a bunch of libraries that I earlier mentioned makes creating procedural geometry on the fly, like verb knobs is really cool to work with, knobs geometry, which is like curvy and flowy and more aesthetically appealing, I guess more conducive for the human body form, like you can imagine straight lines are not that comfortable. And the idea of using 3JS to render it and also extract the information that you need to put it to a fabrication file. Cause in the earlier slide that you saw of fabricating it from just a CAD geometry. So that happened on the client side on the front end. And the whole idea right now is essentially like I'm piggybacking off of GitHub for like hosting, free hosting and the app runs on, so like there's no real hosting that I'm doing. It's just like a bunch of files put together and how each file talks to each other and coordinates broadly speaking as a community. And yeah, that's the meat of it. So anyone who's interested in furniture design or JavaScript and that sort of stuff might be cool to hear if you ever try it out, what do you think about it? Thanks. Yep, and if any questions, I think I have time. I have plenty of time to turn this on. Say something? Oh yeah, this would have been better. One question. You just say that it was easier to use than a grasshopper? Sorry? You said it was easier to use than grasshopper?  I like it. It's a visual programming environment, so people who are not familiar with scripting makes it easier, but the logic and the underpinning is the same. Do you get what I'm saying? Okay, can you just show some? Yeah, that's what I'm trying. This is a grasshopper environment. This is the scripting environment for grasshopper, where you're connecting components. It's a visual node-based editor which makes modeling 3D, well, it's a way to do it, I would say. Starting in architecture schools, it's an introductory thing to get into programming and computational design, so it's very familiar. Grasshopper itself is a plugin into a 3D application called Rhino, which is used for 3D modeling. And this is what a parametric script looks like. And this is what a design file that you would write in JavaScript, but executing more or less the same things would look like, which is like JavaScript. Well, this is a part where you're defining the input variables, like the stuff that you see on the right, how the designer would convey to the user how he lets the specific design to be modulated, which the app can read, process like a UI for it, and the user can interact with it. And within the same file is the logic to convert the design into 3D. This is a very simple one, so that's why here you're just creating geometry, applying material, creating the mesh. This is the part where it lets the designer specify how they want the sections to be made out of it. And it should be such that they intersect and are forming a stable structure that anyone sets on. So you can think of this like the API, I don't know if I can call it that, but that's how you would design a design. It's more like an interface, not an API, sorry. Does that answer your question? If I would change the dimensions of the furniture, can it also maybe add an extra slice for support or something like that? Yeah, absolutely. You see this guy? So that's set up by the designer to do it. And the idea is like, this is my design, so I created it with a logic that shouldn't mean more or less spacing than like 12 inches or not. I don't remember some few inches, but that depends on whoever designing the furniture to make sure that it's stable. Thank you. How does a designer specify materials for the maker? Are there certain restrictions so that when it gets sent to a maker, they only make out certain things? Yeah, so like the framework that I've been playing with have so far primarily worked with plywood because that is stable enough. It depends on a lot on what's available. And so far I would say it is just plywood of a specific thickness. Well, the thickness is customizable, depending on how you want the furniture to be, but also thinking of it in aspects of safety, like people who haven't experimented with furniture might try to do it with acrylic, which works on small pieces. But if you scale it up for the bigger piece, then the structural stability isn't enough for it snaps or it's just more brittle. And the material that you saw in there, that's just for visualization. That is in the material. You're still thinking. Sorry? You're still thinking, I can see it. Can you show how you interface with 3JS? So 3JS is the library that I'm building on. The idea is like this is 3JS, running as an app within the web app. My app is specifically extracting geometry, providing a platform. So it's a library for me. I'm using it as a library. It's using a bunch of operations within 3JS and the community around 3JS to extract the vector geometry, to modulate lines, makes stuff easier. But the stuff you see left of this line is 3JS. And then in 3JS specifically, what is the geometry you're using? Well, this is one piece, right? This was my inspiration, which I started off with the earlier pieces that I was showing you. The idea is like limitless. There's a whole design company, and if people are submitting more designs, it could be anything. But for this one, I start off with a specific profile. So this is the inspiration for the geometry. I'll show this one. So this is something I did for Hackathon, where the idea was fetching, it was a proof of concept thing. It was fetching information about a person's genetic data from services like 23andMe. This is a competitor, I guess, to them. And using that to customize furniture. So broadly, figuring out how a furniture looks, how it should feel, and how I can customize it, that's kind of the design logic that comes in before you're making furniture, or before you're writing code, sorry. And then you figure out the mathematical relationships between how you want different parts of your furniture to move, and how with respect to each other. And it also corresponds with human anatomy. There's a whole library of anthropometric data about how body proportions should be, and all of that, which is ideal approach to do that, is you take that and pick an average, or pick an 80% of your target audience for a furniture design, and you customize it for that. But doing it live dynamically or procedurally lets you modulate that for a specific time, person without constraining your design to limitations like that. And then you figure out the proportions that you wanna be, and this is what the CAD file, the fabrication file looks like. This is what goes to the CNC guy, and basically he just needs this and the material thickness and money. So these are kind of the inspirations, so it's not about a specific geometry, but how you think of furniture, I would say. Did you implement an algorithm to do the layout of the laser cutting parts? Working on that right now, as I see. Because that would be an interesting algorithm. I have something working, not published or anything, but... Maybe you can show something? I don't have it right now, but you could check back or you could teach out to me after I can talk to you. All right, thanks. Are you looking for contributions? Are you like, what is the next step where maybe we could help? Oh, definitely. So this is the page that I was talking about, like everything is open, the idea of making such furniture. Like the idea is not super complicated, I would say. Like a company had to do it, they could definitely do it. But bring it out in the open where there are two parts. Well, one is the maker network, people who can fabricate such things. And that's most of the people that you saw earlier who have reached out and connected with me. And there's a bunch of designers, people who are interested in making such furniture. So I've had regular interactions with people who want to do an experiment with this. But that's really more keen. And furniture design is a part of it. I would also just like to hear people who are using, who try to experiment with this, or how the app is working for them so far. And like starting it is, I've made a how-to-getting-started guide, which starts off with a basic geometry and is meant to tell you how you should go. And the idea is like, if you clone this repo, all you need to really worry about is just changing this file, the design.js file. And that's where you set up how you want the design to change, the logic that you embed, which is all around here. And like this one has a more complicated design logic. Let me see if I can find that. How much time do we have left? Okay, we can see four minutes. So this is the design logic for this one, where it's slightly more complicated. And you start off with a framework of points, which sets it in a 3D environment. Well, it's one approach to do it. You figure out the points that you want to move, you specify those, create the lines between them, and a little bit of 3D, like 3D knowledge, would help make the geometry. So this is the starting state. And then I modulate these based on the user inputs, which is age, weight, or it could be anything. And then knob geometry helps you create smooth lines between any given points, like not always smooth, but, this is the process of adding it into the scene, like adding it into the app. This might look complicated, but like once you figure out the framework to do it, that's how it would be. There's another article that I can't find. I'm going to ask a tricky question. Maybe I missed it before, but did somebody else beside you made an object with us? Sorry? Did somebody else beside you made an object? No, not anyone so far yet. So that's the first contribution that I'm most keenly looking for. Well, it's a great room we have, so I'm pretty sure somebody's someone is going to do it, right? Yeah, I'm like getting started is not easy, difficult. Like getting started part is not difficult, but how you want to modulate furniture, that's more about furniture design. But it's like furniture is one thing that I've thought of. We always make like small things, cup holders, birds nest and all that sort of stuff, which is easier and like no one's going to fall if you make that. There was a pretty, really bad presentation this morning about augmented reality done by someone. So that's why I can say it was pretty bad. But I think using this also, when you, for example, change the parameter about the size, the width and everything, when you see the result in its context, it would run with 3GS. So maybe something also to explore. Yeah. I suppose you will be just outside of the room if people who are a little bit shy have more questions or want to do the first design contribution. Otherwise, thank you very much. Thank you so much. Thank you. So please.


It's a great pleasure to be here with you in Dubai for this spring meeting of our broadband commission. So welcome you to this meeting, and particularly for those new commissioners joining us for the first time. Every time our chairman will invite each of you, newly join us to say a few words to introduce yourself. I would like to express my warm thanks to my co-chair, co-vice chair, sorry, Madam Irina Bukova. I think she will join us any moment. We are sorry about that our co-chairs, President Kagami and Carlos Lim, could not be here with us today, as we just heard. This is the first time President Kagami cannot join us at our meeting. And since July, two times a year as the president of country, he never missed any meeting. And he really want to join us this time. And last time I met him in Davos in January, he reconfirmed to me again, he will come. But for some unexpected circumstances, he cannot join. And I understand that at this moment, new minister will be allowed to leave their country. And with the very exception that our chairman for communicating youth was sent by President Kagami to revamp him at our meeting. We are very grateful. And Carlos Lim also promised to come again. Unfortunately, in the middle of February, he told me that for some urgent matters he cannot come. He asked his well-crucified collaborator, Huck, Carlos, to join. And Huck was not prepared because he thought that Mr. Carlos Lim will come so that he will find very big industry actions in Madrid these two days, exactly. Because he firmly believed that Carlos Lim will come to join us. And then he actually could not leave because exactly today, in Madrid, he has to manage his company's business. It's also a first time. We did not have neither Carlos Lim nor he should be there to join us. But they are both very busy for the time moment with unexpected situations. But the same, the message is very clear to us that they strongly support our commission. And it's work. And we look forward to seeing them in New York, I think it's the 18th of September. So please mark this date, 18 September, this year in New York. Let me also express my sincere appreciation to our host, Sonia Vaki and his team, who have been fantastic in welcoming and supporting us all. I understand Sonia Vaki will join us later today because he has to chair some working sessions this morning at this moment. Distinguished colleagues, 2015 was a momentous year for the United Nations system. It was, of course, the 70th anniversary of the UN. But more importantly, it saw the adoption of the sustainable development course, SDGs, which expanded on the solid foundations led down by the MDGs in the year 2000. It is our shared conviction that today, more than ever before, broadband and ICTs offer large-scale opportunities to empower individuals, transform economies, and contribute to development. This is the view which I think we all share around this table. The UN is now getting to grips with the detailed exercises of establishing how we are going to measure and monitor the SDGs. And I know many of us here are engaged and closely involved in that work. Ladies and gentlemen, there are also momentous times for the ICT industry. For a start, thanks in part to many of the players assembled here around the table. We are seeing an explosion in mobile broadband and 4G around the world. We are seeing significant and accelerating momentum for the awards of 4G license by regulators and 4G networks launched by operators. Recently, joint tests by Telstra, Edison, and Qualcomm offer realistic perspective of download and upload speeds of one gigabit per second speeds. And 150 megabits per second commercially available over a mobile network by the end of this year. This development will smash the long-standing, rough ratio between fixed and mobile network speeds of around 10 to 1. This is a very exciting development, promising fixed-like capacities and throughput over mobile access networks. The potential for development could be enormous. Just think of all the applications that could be made possible by expanding mobile access capacities in M banking, M health, or M learning applications. So I'm very pleased to my colleague, Madam Irina Bukova, is just coming to join us. So, even though you have arrived at a very right moment, that I will close my remarks. None of these will come cheaply, however. And at our special session in Davos in January, the Broadband Commission published an estimate of the cost of $450 billion for connecting the next 1.5 billion people by 2020, which is a very considerable sum of money. So obviously governments and industry will have to work together in partnership to be able to fund and finance new and upgraded networks. We should not be too preoccupied by transmission speeds. However, as I believe the work of the Broadband Commission has shown, the true potential of a broadband for development does not lie in increased speeds, but rather the way broadband will change our approach and transform the ways in which we are doing our jobs. For example, how will health and education sectors adapt to the digital transition? Most people would agree with doctors or nursing staff having access to confidential health files in the name of diagnosing and treating diseases. But what would happen if that information were leaked or shared internationally with health insurance providers? I know there were some discussions of that in the working group meeting yesterday. In the classroom, electronic teaching methods can be used to inform and educate and enhance learning, but at the same time, students may get distracted or derailed. And is there any evidence that digital learning methods can really replace teachers? Most people would argue that ICTs can be used to enhance access to teachers, including remote access, but can computers ever really replace or substitute even partly for person-to-person explanations to help overcome students' learning difficulties? And that is also why I'm very pleased to be here at the GEMS forum to learn from the broader discussion about how we can transform our way of thinking, not just to accommodate digital technologies into existing ways of educating students, but how to ensure that real-world processes are redesigned to impress and really integrate digital approaches. To distinguish the colleagues as this is a working meeting, we are expecting certain things from you in addition to your insights and debates. I just learned a couple of weeks ago, two weeks ago, there's a proposal from DATU, our commissioner, with some nice proposals. We had some consultations. I think that we will continue to debate on those topics raised by our colleagues before the meeting. So I'm looking forward to these meetings to continue those debates. In particular, as the commissioners' targets are now five years old, we would like to ask you for your inputs and insights with regards to modernizing and updating them, noting that over the past five years, the targets have really helped highlight the commissioners' work and allowed us to measure the real progress that has made. And these are particularly shared by our coaches when I talk to them by phone. So they expect us to set up some new targets if possible. I'd also like to note that the recent launch of the U.S. State Department's Global Connector Initiative, I support this initiative to work together to connect the world, particularly for the next 1.5 billion online. And I invite you to preach your support individually as the full commission for April 14th this year in Washington, D.C. It could be good if we can find concrete ways to work together between this meeting and the New York Broadband Commission meeting in the fall as there are undoubtedly synergies to be gained from a closer alliance between our two bodies. So dear colleagues, thank you. And let me conclude this briefing remarks by wishing you all a very productive and a fruitful meeting. I now pass the floor back to the chair. Thank you very much.