Hey there friends, how's it going? My name is Kevin and today we are playing some Minecraft, but this time there's a twist. I'm starting a new world and I want to try using this mod that's definitely gonna torture me and then I hope to do more episodes and each episode we change the mod to something that's gonna torture me in a different way. Today's mod explodes items that are left on the ground for about three seconds. You know, I used to do Minecraft videos a long long time ago and now it's starting to hit me how old I must be. Because I think I did videos in like 2011 or I think it was 2011 on Minecraft. Now I'm sitting here. I'm using this wooden chair that you can't really see because my back is thrown out. I'm not ironically using a walking stick because I hurt my foot. Just like yeah, let's be hip and play some Minecraft. Oh god, I almost forgot what the mod was. Great, now I have memory loss as well to top it all off. Hey there friends, how's it going? My name is Kevin. See, it's all about being careful because even this, if I destroyed, okay that's not a good example. Even this, if I destroy this, have I accident the whole thing would explode. So I just got to be very careful with collecting items and what I hit. Jesus Christ, that sound scared me. Fuckin' hell, I just, I thought it was an explosion. I got scared. No, no, no, okay. That's that bit gone. It got stuck on the leaves. That wasn't my fault. I feel like I'm going to have to have an area that I get supplies from because this area is going to be ruined. I was going to build my house here, but I guess not.  I'm not living in a jungle.  What are you? Oh my god, what time bomb did you just drop? No, what are you doing? What are you doing? I don't understand, are they laying eggs or something? Or are they just terrorists? I don't know. Oh my god, there's three of them all going at the same time. The poor things. The poor landscape, Jesus.  I don't like this area.  Do you know that up to one person has died from turtle attacks? It's a bigger problem than you thought. You know, you just assume no one has, but like those snapping turtles have got to be like, they got to be responsible for at least someone dying. All I know is I don't want to be added to that statistic. I don't want to kill myself either. Jesus. I got to be careful. I got to be careful. It's just constant anxiety. Every time I mind something, the ticking starts. The endless ticking.  How much is left on the timer? I wanted to cross to that island. Oh no, okay, wait, I can see the one. That's a six, 15, 14, 13, 12, 11. This is absolutely terrifying. Just get me to land, get me to land.    I can't believe that. May as well fit in with my old persona here. Old man yells at cloud.  You've changed. Zombies, are you kidding me? Go away. Can I make the sand fall on him? No, I'm such a genius. Now it's a bomb. All right. That worked. My walking stick, now I can't reach it. Oh my god, all the animals become bombs. How the hell am I supposed to get wool? I want to get wool to make a bed, but every animal, once they see me, decides they'd rather just die than deal with me. I'm constantly on edge. Please help me. Sheep. Oh no, no, no, no, no. Don't come any closer. Honestly, you'll turn into a bomb. There's no time to explain. Just don't come close to me. There's even a baby one. And I'm not saying I don't want them to die. I'm fine with that. Really? Oh my god. No, I'm sorry, I'm sorry. Oh, even their arrows explode. Jesus Christ, I'm nearly dead. What if... If I... Come on. Do you drop wool? I gotta get it underground or something.  How am I supposed to get food? I'm so upset. I'm not even gonna be able to get back here if I die, so I'm really worried. This is just a constant state of panic and I hate it. I just made a second crafty mention by accident. I can't even think right now.   I'm taking way too long.  I'm really opening up to you here.  Collect the dirt, collect the dirt, collect the dirt. This just isn't worth the emotional trauma, is it? It's just not worth it. Okay. Kevin, let's just simplify this down. The goal. Look for iron to get shears so I can shear the sheep and make a bed. If I can set my spawn, at least I'll have that. Is that iron? Sorry, I know it's super dark. I'll try not to include too many clips from this because I know you can't see anything. But we got the iron. That's all you need to know. I'm burning my jungle logs to make charcoal because you know what?  All right, there. I came out and said it. I don't like them. They're the worst plank in Minecraft. Oh, God, I can imagine the hate comments already. I know how passionate people get over there. But jungle logs. This is your life now, Kevin. You have a cane, your back hurts, and you're living in a hole. All right, I got shears. I don't know if I'm even going to be really close enough to shear them, to be honest with you. I'm kind of just winging it here. I don't know what this mod is capable of. I think I'll make a box for all of my valuables, though. I got so many valuables. You know, I don't want to lose my one block of sand or this stick. And what would I do without my two pieces of granite? You know, I don't want to take it for granite. It means a lot to me. Oh, I've gone mad. I've gone mad. Whole madness is setting in. I gotta say, though, I'm not doing too bad on the old tools and whatnot. I've got an iron set here, minus the axe. I should probably make that, too. But I ran out of iron. I used it all. Look, I have nothing else to be doing. I didn't play with my iron in this hole. All right, store all those away and just go out with my shears. Still gonna wait till daytime. It must be nearly daytime. But I'll be right back when the night turns today and then we'll try and get ourselves a bed. All right, we're gonna sprint at this sheep, shear it, and then sprint away. All right, that's the plan. Come here. Gimme, gimme, gimme, gimme. Oh, yes. Oh, my God, I'm down to one hat. Even less than half a hat. And I only got one wool. Oh, no. No, no, no, no, no, no, no, no, no, no, no. I forgot if you use shears on the tree that it actually makes them fall. I wanted to just destroy them. I want to find an apple. I don't know what to do. I don't know what to do. All right, you know what? I'm gonna just charge you the thing and hope for the best. I didn't pick it up.   Oh, this is awful. Away.   Run, run, run, run, run. Yes, yes. The music to my ears. It's just sheep exploding. I can finally make a bed. Where's my home? Where's my hole in the ground? There it is.  All right, well, I've got a little setup now. At least I've got my respawn sorted and all that. And now I just need to... I don't know what I need to do. I need to make a door, I guess, to try and protect myself and then actually collect some supplies to do a proper house. No, no, no, no, no, no, no, no, no. Jesus. I nearly didn't make it through. All right, okay. I've got the basics of my house started. I don't think any mobs... Oh, they can there. There, okay. Now I don't think mobs can get in, but obviously I need a roof and whatnot, so I'll go down and do a bit of mining. Try and get a basic setup. I'm not going for anything with style here. I'm just trying to get something that can protect me from the outside world. I just wish I could get something that could protect me from myself. No! I told you I needed something to protect me from myself.  I was just digging above me and then I was like, I should probably look down. I think I'm running out of ground. I looked down and there was just nothing. Oh, man, after all that, at least I'll sp- I shouldn't say at least I'll spawning. I can get my stuff back, but I think it just blew up. That's all my iron gear gone. Remember earlier when I said how proud I was? I gotta say though, not doing too bad on the old tools and whatnot.  All right, you know what? I have to child-proof the house. And no, I don't have children. It's just for me. No, no, no, no, no, no, no, no, no. Oh, this is way too stressful. It's like the chaos model over again. Oh, no. Grief for Jesus has seen what we've done. He's seen that we did bad and now he's angry. All right, my house is done. I know what you're thinking. God, that thing's beautiful. But also, it's a little bit dark. We should get some coal and try and lighten the place up a bit. The hell is that? Is that a ship? Or is it just like a little island? Oh, that is a ship. Well, what, a good stroke of luck? Oh, no, no, no, no, no, no. Oh, not good luck at all. Wait, fishy. I need to eat fish. Can I actually pick that up? Of course they're all going to explode as well. Why would I think that was possible? Imagine that. Look, I got one fish at least. Oh, we're eating tonight. Probably the only time I'm going to be able to eat. Food. Food. A suspicious stew. At this point, I'll take it. I've seen anything. I think there's usually two things in these ships, but I'm kind of too scared to actually look for it because, well, the whole ship will start blowing up if I destroy any blocks. There's dolphins there. No, no, no, no, no.  Oh, my God, there's a skeleton on a spider over there. Is that still super rare? I remember that was like one of the rarest things in Minecraft at one point. Hold on. Let me act my age here for a second. Oh, a spider. No. Oh, no. I need to worry about everything exploding right now. I don't need creepers in my life. This is just in general. I just don't need creepers in my life. All right. Have a little bit of a sleep. Thank God. Sweet dreams. I have a feeling this guy is not having sweet dreams. His life is a living hell. All right. I'm going back on the mission of finding that coal. I will find it. No, no, no, no. Oh, man, the coal was hidden. That was really scary. I couldn't get to it.  Okay, there goes my peck.  Phew. Now none of you think I'm cowardly. That was close. Wouldn't want that happening for the first time ever. Oh, no. Oh, no. Oh, no. No, no, no. No, I just want to get some wood. Hold on. Hold on. Let me get some wood and I'll let you do it. You can blow up as much as you want now.  Okay, I should leave. Why am I sitting here pondering about the fact I should leave the area instead of just leaving the area? I think this is actually the best setup. There's this little house upstairs that looks like just a shack. And then I come down into the real place under here where I live as a hermit and I'm safe from everything.  I don't know how this works. I assume it's like a radius thing. You know what? Feck windows. I do not need windows anymore. More of a Mac person anyway. Well, Kevin, you've done it.  The next issue is I'm going to run out of food before long and I don't know how to get food. How can I? A bow. All right. A bow would work. I can keep my distance, but I'd need spider web, right?  This is just a disaster all around. Oh my God. The house somehow even looks worse from the outside. I'm going back in. I'm just going to do some mining. I was just thinking to myself, I should probably do parts that are like easy so that if I get a mod that makes the easy parts hard next time, at least I'd have it done. But I don't think there's anything easy with this mod. Everything is awkward. I guess I could throw bombs at things. Like if I say grab this stone and then I throw the stone down on my enemies. Oh, that's kind of neat. I like that. I'm just going to collect a load of cobble to have as my kind of bomb weapon. Okay. See some iron. It's very far down though.  There's two creepers below me. What if I just... Oh no. Oh no. No, no, no, no, no, no. Okay. I think the water saved me. That was extremely lucky. On top of their normal explosion, we had the time bomb explosion, which made it just so much worse. There's the iron I so desperately want. No, no, no, no. What is that? What is this? What is coming up? Was that a bat? I don't know. That was a lot of stress for three iron, honestly. I don't know. Is that worth it? Like I'll get my pick out of it, but that was a lot of stress. I don't know. Should I try and make a sword or a pick? Maybe a sword would be more valuable, and I can try and get some animals. Putting everything away. That's how confident I am in my own abilities.  For me just dropping things in there. No, I don't... I don't want to do this, but... Okay, that was good. I killed something. I just gotta hit it twice, and it'll kill them.  There's no way anything can survive in this world. And yes, that includes me. I know my time is limited. No, no! Oh, that was too close. No, pick up the stuff! Pick up the... Oh, the fecking daisies! All right, I got some food. I'm actually happy with that. I didn't know it was gonna be possible or not. I just kind of took a chance. Oh, no, no, no, no, no, no, no, no, no, no, no, no, no. I was gonna say I can get a doggie, but I don't want a doggie right now. Maybe next episode, if you guys want to see more animals and I was for it, I can get a doggie. Oh my God, there's a whole field of them. Lovely, because I have been known to let my sidekicks die by accident, so it's good that there are a few replacements. Stop running away! Okay, you know what? The outside world is dangerous, and I hate it. That's the second time I've been left on half a heart from an explosion. The second time.  Jesus Christ, that's all right. It's in water. Okay, it's not too bad actually. I was just like, I don't need these leaves. I'll just throw them to get rid of them. And I'm realizing that they're bombs. I don't think that excuse would hold up in court, you know? All right, the good news is there seems to be lots of wildlife around my house, which is fantastic. I want your meat. Oh no, oh no! All right, well, no meat for me. No, no, no, no, no, no, no, no, no, no. All right, there go two more. No, no, no, no. Okay, fine, fine. This feels so dangerous. It's just, it is reckless. But I need food. They try and run from me, which I don't know if they're trying to make it harder for me to kill them, or if they're trying to save me. Like, they're like, no, Kevin, get back! Oh, this is such a cool spot.  This is pretty close to my house too. Maybe I can have a house on the lake, like a summer house, rather than my dank moist basement that I currently live in. But look, it's safer than living on the surface. I'm starting to understand why my sims get so accustomed to living in the basement. Like, it does feel safe. This feels really dangerous. Oh no, oh no, it's becoming nighttime. I stayed out behind my car for you. I gotta get home. I don't like this at all. Which way was my home? Which way was my home? I think it was this way. Oh, I'm panicking now. Once it goes dark, I'm in serious trouble. Especially skeletons. The fact that their arrows explode. No, no, no, no. This is a horrible idea. No, I'm backing myself into a cave. Getting upset. Sad. Sad. I like when someone teaches their pet to hit a button for their emotion. Okay, now I'm in trouble because I've gotten completely turned around and I cannot see my house anywhere. I mean, there's not much to see, I guess. It's just kind of a block of cobble that we just gotta find an ugly, ugly house made of cobble. No, no, no, no, no, no, no, no, no, no, no. You lunatic. I am feckin' surrounded. I am literally surrounded by things. Like, my house is over there. I'm pretty sure. And there's just, there's mobs everywhere. I'm just waiting to get shot at. Don't shoot at me. I'm innocent. Oh, there's my house.  Oh, God, stay on full alert here, Kevin. You are not out of the woods yet. Like, literally, you are. You're in the plains now, but I mean like in danger-wise. You're still in immense danger, so what I'm trying to say. I'm home. I'm home. I'm home. Okay, nothing could spawn my house, can they? It's way too bright. I lit up the whole place. Yes.  Because I'm safe in here. Oh, my God, I'm going to bed. I just had a lump of meat in my hand. Oh, just a midnight snack, you know. You ever just wake up in the middle of night and want some raw pork chop? Thank you so much for watching. If you have any suggestions on mods I could try out and I'll just continue to save just with another mod. Thank you very much for watching. Subscribe if you're new and I hope to see you next time. Bye for now.


Welcome to this short introduction to the core concepts of single cell and spatial omics. Omics is fundamentally about measuring all the things in a sample. I've earlier talked about transcriptomics, which measures all the transcripts in a sample, and MS-based proteomics, which measures all the proteins in a sample using mass spectrometry. When it comes to single cell omics, this only differs in the sense that we assign things to cells, meaning that we know which things come from the same cell, and therefore can make an inventory of each cell. Spatial omics, similarly, is about assigning coordinates for things, so that we know which things were close to each other in the sample. Let's start with the typical single cell workflow. The starting point is usually a tissue sample, and the first step is to create a so-called dissociated cell culture in which the cells don't stick to each other. That's important for the next step, which is to isolate single cells. This can be done using either cell sorting with techniques such as fax or max, laser capture microdice action, or microfluidics, which allow you to create micro droplets with cells in separate droplets. The latter is done with a setup like this. Imagine you have water coming in with cells in it, and you have oil coming in the other direction, pinching off tiny droplets that each contain at most one cell. Once you've isolated the cells, the obvious thing to do is simply to do omics on each cell, and if you have sufficiently sensitive methods, that is possible. The problem is it doesn't scale very well, so this approach scales to maybe some hundreds of cells, but not much beyond that. The alternative is to label the cells, that is put so-called unique molecular identifiers on all the things from a cell. A good example of that is DNA barcodes where you label, for example, all the transcripts in a cell with a DNA barcode, and the transcripts from another cell with a different DNA barcode. Once you've labeled all the things, you can mix the cells and analyze all of it in multiplexed omics, doing, for example, next-generation sequencing. The trick is that this scales to tens of thousands of cells, and it has the further advantage that since all of them are analyzed in parallel in one batch, you avoid the usual issues of batch effects where cells may not be directly comparable. So how about the spatial workflow? If we're looking at spatial transcriptomics, the typical approach is in situ capture. What you do is you make an array of beats which have been DNA barcoded. You put the beats down randomly, and then do spatial barcode indexing to find out which barcodes correspond to which positions in the array. The next step is to take a tissue section, so a very thin tissue slice, and transfer the RNA to the beats, and then in a clever trick produce cDNA from the transcripts that become barcoded with the barcode from the beat that the RNA was stuck to. That means that you now know for each cDNA which beat it came from and thereby the position. You can now again simply do multiplex sequencing, and you get transcripts with associated positions. The problem is that you can have multiple cells per beat so you don't necessarily know which transcripts are from the same cell. However, recently it has become possible to make small enough beats that statistically speaking you have single cell resolution, and that way you produce single cell spatialomics data. An alternative approach is laser capture micro dissection.  So now that we have the data, how do we do the computational analysis of it? When it comes to analyzing single cell data versus bulk data, the most common complaint I hear is poor coverage or that the data are very sparse. And that's because in each cell you may not observe many, for example, transcripts, and when you look at a transcript in most cells it will not have been seen. So you have a matrix with many zeros. But this is bit of an unfair criticism in my opinion because it conflates cells with samples. Cells are not samples when it comes to single cell data, because from one sample you will get many cells. And if I wanted to, I could pool all the cells from a sample and I would get bulk data with excellent coverage. The problem with that approach is obviously that I would completely ignore the cell information, thereby making it pointless to do single cell data in the first place. For that reason what people typically do is to instead assign cell types using clustering algorithms to group together cells that are similar and laying them out doing Disney plots or UMAP plots to identify how many different cell types you have in the sample and assign cells to these cell types. This then allows you to pool not all the cells, but just the cells of the same type and that way obtain cell type specific data from the single cell data. Another thing that people often want to do with single cell data is trajectory inference, also known as pseudo-time reconstruction. The idea is to identify an ordering of cells so that you get as smooth a transition as possible from one cell to the next in expression space. That way you get a kind of fake time axis showing how cells could be converted into other cells that you've seen in the same sample, thus effectively getting a pseudo-time series. Although it is of course not time series data. When it comes to analyzing spatialomics data, what we're dealing with is data with 2D coordinates assigned to each thing. For this reason it shouldn't come as a surprise that most methods are based on image analysis techniques which allow you to identify regions of similar cells and that way patterning within tissues which can be very interesting especially in developmental biology. That's all I have to say about single cell and spatialomics data. If you want to learn more aboutomics data, I suggest you have a look at this presentation next. Thanks for your attention.


This is Gary Leonhard, CEO of the Futures Agency and Futurist. I am in Johannesburg, South Africa today. Beautiful place here with a few colleagues who are also Futurists. Let's do a short intro. Thanks, good. I'm Anton Musgrave, the joint CEO of Future World South Africa and a partner in Future World International. I'm Neil Jacobson. I'm the other half of Future World CEO and also a partner in the international business. And I'm Dag Weining, editor of my Bullets and also a part of the Future World Network. Alright, so we're doing a dig tomorrow together, talking to a client about the future of business. So we figured we would just, I believe you talk about what we actually do as Futurists because there's common confusion about people, you know, predictions, crystal balls and so on. So what does the Futures do? I'm still trying to work that out. I guess, I think all of us have run businesses ourselves. All of us have been CEOs of companies and so forth. And one of the key things that has struck me now for many years is that the pressure of business means that you very seldom have a chance to look forward. And most CEOs are spending all of their time looking at today's operational issues. And that's what we try to break. Break the business's usual mindset and try to look forward and do what's going to happen next. I think, Neil, it's about introducing executives to new conversations. If you think typically about the agenda in the boardroom, it's all about the next year to 18 months, etc. And this is really introducing a brand new debate to stretch the mind to discuss things that would not normally be discussed in the context of what does the world look like that we are rushing towards mostly with our noses buried in the sound. And I think too, the big question of being a Futurist is not being a fortune teller. We don't predict the future. What you do is explore possibilities for the future. Yeah, I think one of the angles that I like to use, you probably have discussed earlier, it's very much the same, to question assumptions and beliefs that may have been true in the past, but the future probably is going to be quite different, but also to sort of touch on things that are the obvious, but nobody wants to look at this. And some of that work is rather painful. I don't know if your experience probably has been the same. It's to discover that what you thought is true may have been true, but no longer is. And the rules have fundamentally changed. I think it's how do you get someone to understand what lies beyond the next step change. We all think we understand the next step change, and many of us talk about these things that are coming at us. But the question is, so what happens after that? And what are the unusual linkages that you can make? And most importantly, what business opportunities flow from those? And what are the choices you would make as a strategic thinker if you were more in tune with what that world is going to be like? I think it's also about broadening horizons. So many businesses focus on their business and their immediate competitors, the competitors that they know. But we all know that the world is flattening very, very rapidly. And new competitors are coming in that aren't the traditional players that you know exactly. And how do you get a chief executive in each team to lift their chins away from the business and look at the horizon, look at the world outside, and say, you know, where are the new competitors going to be? What's Google going to do next in my field? Yeah, it's a question of beyond the obvious. Exactly. What's your take on this? I think this is also very hard for us to be beyond the obvious, because sometimes you have to be obvious. I think you're right, but it's also about embracing uncertainty because one of the things for sure is that the future is uncertain. And people who think that the budgets and the plans are going to happen as planned are wrong because the future is going to be different to what we expect. And being able to accept that and be happy with it, comfortable with it, that is a key factor.


I have a background in loving pop culture and being obsessed with movies and television and video games. I come out of the gig poster world where it's just naturally limited anyway. You're doing posters for each show and try to apply that approach to movie posters. At the time I figured, hey, this would be great if I got some of my gig poster buddies to do like a gig poster approach to movie posters. And that went really well. The gallery opened in 2012 and actually opened the first weekend of South by Southwest. Every year we've done two gallery shows for South by. This year's Batman the animated series and on the second weekend we always try and do something special for our fans who are traveling in from out of town. So it's our house party show, which is our annual show where we have over 75 artists contribute original artwork. When doing artwork for records, you know, we approach it similarly to the way we do posters. We really wanted to feel like a piece of artwork that actually speaks significantly to the themes of the movie or the television show or the game or a singular moment from it that is evocative of it. You know, an album's art is so important. I mean, you're not supposed to judge a book by its cover, but you can judge a record by its cover. I mean, the records cover is so important to its legacy. Talent relations are everything for us at Mondo. All of us just kind of keep an eye out on social media, Instagram, Twitter, you know, DeviantArt. Anywhere you could find people that are posting art online, we try to keep our finger on the pulse and a lot of it is reaching out to artists in that way. A lot of it is suggestions from other artists on who we should be working with but maintaining and building those relationships and building an artist up over the course of their career is something that we really pride ourselves on. We like to treat Mondo as a platform for artists to get their work out. So we do everything we can to kind of provide the biggest voice possible to show off their work. We're very passionate about movies, music, everything we attack. That's basically what, that's a litmus test for anything we kind of do, we care about.


Alright friends, so I am Dheeraj from Centrum Academy. So we are live again and we are taking up a question on nuclei chapter. All right, so this this is a different kind of question which is based on some, you know, scenario as such fine So let us see what this question is about. So as you can see On your screen, there is a huge question. All right So what we'll do we'll we'll solve it in a step-by-step manner. So there are multiple parts to this question Fine, so we'll take one by one all of these So there is a town which has a population of one million. So there is a town fine Which is a population of 10 this power six people All right, the average electric power needed per person is 300 watt So every person requirement is 300 watt Fine to the requirement of town is what? So, you know, it must be about the town which is asked later on. So we are just You know readily finding out some of the obvious parameters like per person energy consumption is given So I'll find out the Consumption by the entire town. So that would be what 300 into 10 is for six. So town will require three into 10 this power eight watt Okay, the reactor is designed to supply power to this town The efficiency with which thermal power is converted into electrical power is 25% fine. So thermal power If it is 100 then 25 will be converted into electrical power fine So if the requirement of town is this much electrical energy So how much thermal energy is required to create this much electrical energy? Assume that to be x fine. So 25% of x Which is x into 0.25 should be equal to 3 into 10 ratio power 8 watts Fine So x will be equal to what 3 divided by 0.25 which is 12 into 10 ratio power 8 joules per Second fine. So this much amount of heat energy Must be supplied to create that much amount of power in the town Okay, so these are some of the initial analysis we did now. Let us see what is asked This I'll write. Yes. This is the thermal energy Required Okay now part a of the question assuming 200 Mev of Thermal energy to come from each fission event Find the number of events that should take place every day now we know that one fission will give 200 Mev Okay, if you convert it into joules you'll get here as 200 into 10 ratio power 6 Into charge of electron This much joules you'll get Right. So one fission gives this much joule and the requirement is 12 into 10 is for eight joules every second Fine. So every second How many reactions should take place? Let's call it that as n and that will be equal to 1.2 into 10 ratio power 9 which is x Okay that divided by This energy, okay, that is equal to 2 into 1.6 Into 10 ratio power This is 8 and that is minus 11. Okay, so this many Events Should happen per second Okay, now how many events should happen per day? that will be equal to and into 24 hours 60 minutes into 60 seconds Right, so this is the answer for part a this many events per second So per day if I have to find out I have to multiply that with number of seconds one day has Okay, so like this you can do part a of the question All right. Let us see what is part B In part B assuming that the fission to take place largely through uranium 235 at what rate? Will the amount of uranium 235 decrease? Okay, we know that every second this many Fission reaction should happen fine and one fission reaction one fission will consume one nucleus of Uranium 235 Fine, so how many nucleases will get consumed of Uranium 235 it will be equal to this only number of events per second Will be equal to number of nucleus that should get consumed every second Isn't it now if you want to find out what is the mass rate of consumption? all you have to do is Divide this n with the Avogadro number Fine, if you divide it with Avogadro number, you'll get number of moles that should get consumed every second This divided by 6.023 Into 10 raised to power 23 fine, so this is number of moles of Uranium 235 that should get consumed every second fine now what is a consumption rate in terms of you know mass you can multiply this with the molecular mass or the you know Molar mass sorry, so if you multiply this with 235 You will get grams per second that should get consumes Gram per second that should get consume Okay, so if you want to find in terms of kg per second you just divided with thousand Fine, so like this you can do the B part of the question Okay, now it says that you should also express in kg per day So this is gram per second So I'm sure you will be able to convert gram per second in kg per day. All right So we can move to the C part of the question assuming that uranium enriched to 3% of 235 Uranium that will be used you need to find how much uranium is needed per month All right, so in B part we have got how many kgs of uranium 235 is required per day fine Let's call that as why so this much uranium 235 suppose is required per day Fine, so for 30 days What is the requirement of uranium 235 that is 30 into y Okay, this much uranium 235 is required per month kg per month. All right now This much uranium 235 is required, but uranium doesn't exist in pure 235 it is written that Only 3% of naturally occurring uranium has uranium 235. Okay, so if that is a case We can say that if x kg of Uranium naturally occurring uranium is required then this into 3% which is point 0.03 Will be equal to 13 to y Okay, so if you solve this equation you'll get the value of x and x is the num x is the amount of naturally occurring uranium that you require To conduct all this Okay, so I hope you have learned something today in case you have any doubts feel free to get in touch with us And we'll be you know clearing your doubts Hello friends. This is Dheeraj. So Today also I have taken up a question and this question is from radioactivity chapter All right, so let's see what this question is about so you can see a question Which is there in your screen a charge capacitor of capacitance C is Discharged through a resistance R. Okay, so whenever you you know here such thing immediately That formula comes in your mind right that charge at any point in time should be equal to q naught e to the power minus t by rc, right? So this is a formula for discharging of the capacitor. All right, then a radioactive sample decays with an average life Tau so average life is tau lambda is equal to what 1 by tau Right because tau is equal to 1 by lambda. All right find the value of r for which the ratio of electrostatic field energy Stored in the capacitor to the activity of the radioactive sample remains constant in time now Energy as a function of time in the capacitor. How will we find out? energy is q square by 2c Isn't it and charge at any point in time is given by equation number one. All right, so I can use equation number one over here and Write the sound as this will be q naught square e to the power minus 2t by rc Okay, this is q square that divide by 2c. All right and ratio of this The energy To the activity should be constant now activity is what activity of a radioactive sample is dn by dt Right and dn by dt is if I just talk about magnitude of the activity is lambda times n Okay, and n as a function of time is given as n naught e to the power e to the power minus lambda t Okay, so this is what we have and now if I take the ratio the ratio should be independent of time Okay, so if I take ratio of energy With activity, let's say activity just dn by dt if I write it like this What I'll get is q naught square by 2c fine lambda n naught e to the power minus 2t by rc multiplied by e to the power lambda t fine, so basically this entire thing This thing is a constant, right? So let let that be a constant k. All right. This is k into e to the power minus of 2 by rc minus lambda times t Okay, now if this ratio is Independent of time then what should happen the ratio is independent of time then coefficient of this time should be equal to zero Right, so 2 divided by rc Minus lambda should be equal to what? Zero, okay, we need to find what we need to find the value of r now the value of r from this You'll get it by solving this equation. So 2 by rc 2 divided by rc is equal to lambda fine, so r is equal to what r is equal to 2 by C times lambda where C is the capacitance So this is how you solve this particular question So I hope you have learned something today in case you have any doubts Please feel free to get in touch with us. Okay. Thank you


Part of the save the world narrative, that's already a red flag for me. A lot of harm that's been done historically by people who are trying to save the world.  It was eugenics. Big threat to humanity was genetic degradation and the solution was to sterilize the unfit. Most scientists, most doctors, and most educated people believed in that. And we saw what, you know, the result play out first half of the 20th century. And that's not, I'm not trying to equate, you know, climate change activism with fascism or anything like that. But it's just like when you think that you are saving the world you become a fundamentalist because that's the most important thing and it's worth sacrificing everything else to that God. Another problem with it, in addition to what you mentioned, is that people who adopt that, okay, we're saving the world, you because you're not with us, you are a threat to the world, to the planet itself. So people who believe that, they emanate the stink of self-righteousness.  On some level, you know that you are not a bad guy.  And when somebody is telling you that you are bad or believes that you're bad, you're going to reject them as not a carrier of truth. That's not all there is to human nature. There's also a transcendent dimension that we are we are being presented with right now as a choice and it's about it's about compassion. It's about forgiveness. It's about putting yourself in someone else's shoes. It's about generosity of listening. It's about humility. It's about humbling yourself to what's true even if it might not fit in with your self-image, even if it might mean that you were wrong about something, because let's face it, everybody, everybody listening to this is probably wrong about something in one of their deep convictions. If you are, how are you ever going to know that? When that is so part of your identity. Like if, and if you want the other people, the wrong side to ever change their mind, then you have to be willing to change your mind too. Otherwise, if you're not willing, because you just know you're right, you're setting an example of the human being that they're going to conform to too. They know they're right just as much as you know you're right. So what is, and that's not to say, like, betray what you genuinely know, but it's to look at, okay, the things I believe, how many of them do I know from direct experience? Why do I believe the things that I believe? And what would it be like to not believe them? What would I lose? To not believe them. And am I willing to not believe them? Or are those things I would lose too precious that even if I'm wrong, I am not going to let go of this belief. Like let's get honest with ourselves first. Then we have the possibility of actual conversation rather than the debate or really the shouting match that prevails in public discourse today.


Ever since buying my first mechanical keyboard, I've absolutely fallen in love with them. Everything from the sound, the feel, the community around it and all the different configurations that you can make with these things. I've wanted to buy more, but I've always been confused with the different types of switches, the sounds they make, the different types of components that you can put together and that's kind of held me back. So today I'm gonna be trying a bunch of different keyboards that I can see exactly what they feel and sound like, how they affect my typing speed, what I think of them. And of course I'm gonna be sharing all of that with you in this deep and detailed comparison with all of the different keyboards and switches timestamped below. And of course, a big thank you to Iconix for sponsoring today's video and sending me all of these keyboards and switches to test out. All the keyboards in this video can be connected with USB-C or wirelessly. They can come with or without RGB backlighting and each keyboard can be paired with several different switch types. They're easily interchangeable. Links to Iconix and all these keyboards will be in the description down below. So this is the second ever mechanical keyboard that I purchased. It is the LAT formula typing keyboard and I've absolutely fallen in love with it. I've been using it every day for about a year and a half. It has these really neat sort of kickstands that you can adjust here from the back at either full level or half level as well. I've got the RGB working in the backgrounds that every time I type, you have all these colors floating across the keyboard. I love the quality of it. It's heavy and sturdy and I just love what it feels like to type on. Now back before I knew anything about mechanical keyboards and I was deciding what kind of switch that I would get with this one, I chose the Cherry MX Brown switch and you'll know that because if you look at any one of these caps that I remove, you've got the Brown switch right there. Now the reason that I chose Brown at the time is because I heard that blue was very loud and clicky and I heard the red was a little bit quiet and I thought, let me just go for the one in the middle. As you can also see, it's pretty dirty down there because I've been using this keyboard every single day for last year and a half or so. I will clean it at some point. Don't get mad at me, keyboard fanatics. We'll get there one day. I've personally been a big fan of the sound but I haven't really had anything to compare it to. So I'm excited to do that with the future keyboards. Now these Cherry MX Brown keys are what are called tactile which means that there's a small bump as you push them down. Push, I've reached a point of resistance, which is the bump and then full push gives me the key press. So push, bump, full press. It's very subtle, but you can definitely feel it when you do it slowly and this kind of provides a more hard hitting key press than some of the other switches that you can use. So these are a bit, take a bit more effort to push down. So Brown keys are supposed to be really good for typing as opposed to something like gaming or making a lot of noise like the blue ones and this is what it sounds like. Now I personally love what this keyboard sounds like. I don't think it's too loud. My sister has never complained about it and she's like right next door to me but whenever I'm on a video call with my girlfriend and she hears me typing on this keyboard she finds it very, very loud, just a thought. And now let's do a typing speed test. So I wanna see how my speed changes using different keyboards and different switch types. So I'm gonna do two tests and we'll take the average of both. A hundred words per minute. I honestly don't know if that's good or if that's bad. I'm pretty sure Ali Abdaal has something like 150 words per minute or more. So, you know, I don't claim to be a fast typer. I'm definitely not. That's the baseline. This is a keyboard I've been using for one and a half years. This is the baseline. Nice round number, a hundred words per minute. And a major little choke there at the end but 92 words per minute. All right, baseline keyboard complete. Now let's move on to the fun stuff. So the first keyboard that we're gonna try is the Variable X. This is of the F97 version and we have the TTC Ace Gold Pink switches. Now that is quality control. This keyboard looks pretty old school. Kind of like one of those keyboards you would expect to see in like an old office in like the early 2000s or something. In here we've got this card on, you know, how this keyboard works and connects to the computer. A unique and complimentary charging cable that matches each keyboard. That's nice. And then most importantly for me, all the Mac equivalent key caps so I can switch them from Windows to Mac. Now this looks nice. What does it sound like? Ooh. I love this muffled sound of keyboards. Out of all the keyboard videos I've watched online, the ones that sound like you're walking on snow. So this is an F97 keyboard which means that it has the numpad here on the right hand side.  It's nice to have all the numbers over here for quick access instead of along the top. And then on the back over here we've got these two very nice little circular things to keep it up. RGB lights coming alive. I like it, I like it. Now this keyboard, like my previous keyboard, has what's called the cherry profile which is kind of this shape that the keys take where it's kind of like a curved U. It's ever so slightly visible I think in this keyboard but some of the other ones have a much more pronounced one. And I personally find these more flat-ish keyboards a lot more comfortable for typing. This one doesn't have the adjustable thing on the back. It just has it slightly raised which is fine for me. I prefer them a bit more flat but it's good to know. I'd imagine you'd want to be using this type of keyboard if you're working in an office. It's nice and quiet and it has the number pad here on the side. So that's why I could imagine this being seen and I think it fits the aesthetic quite well. But anyways, let's get into a sound test. Honestly, amazing. I wish I'd got these keys from the very beginning. I love this. All right, moving on to the important stuff. Let's do the typing speed test. 101 words per minute. New record, let's go. Accuracy 90%. It's pretty good, I'll take it. 101 words per minute. Okay, great, so this is the new leader. Nice, honestly, overall opinion. Absolutely love the sound of this one. Feels amazing, it's so heavy. Every time I pick up one of these keyboards, I can't believe how heavy they are. It's ridiculous. So these TTC gold pink switches are what I think you guys describe in the community as linear. So when you press the key down, it goes down in one smooth motion. All right, let's move on to the next keyboard. Let's do this one, the LAT Cosmic Traveler. So this guy has TTC speed silver keys. Hopefully this will let me type even faster than the one before. Ooh, okay. Got a nice little design here with all of these little icons on the different keys. We've got some planets, a telescope, a rocket, a satellite. And that's a nice touch as well. We've got a couple of different key caps here that you can swap out so that you don't have the contrasting blue if you prefer. I think I'm gonna leave them as they are now. And then the matching color charging cable and also the 2.4 gigahertz wireless receiver. Now this LAT keyboard is similar in layout and function to the keyboard I've been using for a year and a half. But let's see what these things sound and feel like. Ooh. Okay, so right off the bat, these are linear switches. There's no bump as you go down. They feel very solid. And they have a bit of a louder sound than the previous one I was testing. We take a look underneath one of these keys. Little silver switch there. Just goes down in one smooth go. I like that this one has an interesting design as opposed to the sort of plain keyboards that you see everywhere.  All right, let's see what this TTC speed silver switch sounds like. All right, personally for me, I think the majority of the keys sound okay, pretty good.  It's quite clicky for me. But after all, this is called the speed silver switch. So let's see how fast I can type. 106 words per minute. All right, a new record. Speed silver was not lying. Let's try and replicate this again and take an average. Okay, 102 words per minute. So yeah, even though I don't think these keys feel as good as some of the other ones that I've tried, you can type faster with them. All right, now the next ones that I want to try are these pair of cute little cat ear looking keyboards. And I know exactly who would want to use these keyboards. My sister, she's absolutely in love with cats and dreams about having a cat all day long or maybe some streamer who loves cats. I feel like I've definitely seen that before. But anyways, we've got it in a pastel blue and this beige peachy color. That's very cute. Oh my God, that feels clicky. Oh my God, okay. I could already tell that's very clicky. And what are these? Silicon little tips for the ears. That's really cute. We've got some fish over here, a cat sleeping, a little bit of milk it looks like. Oh my God, this feels clicky. This feels like what I would imagine typing on a typewriter would feel like. Very strange experience. So right on the bottom, we've got these non-adjustable silicon tips over here. We've got some nice white backlit keys and each one of the keys themselves has a little indent in the shape of a circle. So your fingers kind of fit into those indents quite well. There's a lot of gap between the keys, as you can see, I think because of the shape of these little cat heads with ears on them. So this keyboard comes with cat ill blue switches. I hope I'm pronouncing that right. And oh my God, they are so incredibly clicky. Look at, have a look at this. This is what it looks like underneath. You can see quite clearly. They're very highly raised up above the keyboard and you've got this massive gap all around and underneath that gives you sort of a look and insight into it. If we take one of these keys off, very, very, you can even hear the click at the bottom. Listen. You can hear as the switch reaches the bottom, there's an audible click. Excited to see how I can type on this, but first let's do a sound test. It almost sounds like every time you press a letter, you have a key ring with a bunch of keys on it and you're like shaking it and it's going, and they definitely feel a little bit more difficult to push, I think, than some of the TTC ones, at least for me. I don't expect to have a good typing speed with this, but let's give it a go. Okay, well, as you can see, 82 words per minute, accuracy of 77%, obviously not good at all. I think if you're trying to type fast or like write an essay or a thesis or something, this is not the keyboard for you. If you wanna be on stream with a nice cute keyboard or if you're young and you really like cats and you'd prefer to have this, then the keyboard is for you. I think this is definitely more suited to more leisurely, simple typing than just trying to go as fast as you can. It's a very good looking keyboard. When typing fast, I found that I was hitting more than one key at once instead of the individual key that I wanted. I have a feeling it's because of this shape, but I'm not quite sure. Kind of feels like a really nice aesthetic piece for your desktop. Let's try the beige one. Okay, that's a lot less clicky right off the bat. So this keyboard comes with the cat-ill red switches. So those ones were the blue. These ones are the red, which I guess makes sense with the colors that we have here. Again, these silicone tips. I kind of prefer this color. I think it's a lot more sort of subdued pastel, which is kind of the vibe that I go for. And the switches are much less clicky, that's for sure. They feel a bit bumpy. I wasn't sure if they were linear or bumpy, but they feel bumpy kind of like the Cherry MX Browns as opposed to linear like the TTC ones. So yeah, much less clicky than the previous one. All right, let's do a little sound test. So this keyboard actually sounds quite nice. I think it has that kind of muffled sound that I was talking about with the F97 typing keyboard that we did earlier. And I'm definitely a fan of that.  They definitely feel a bit more hard to push than the previous one, which I think makes sense and makes me think that these are in fact bumpy switches as opposed to linear. All right, let's do a typing test and see what we can do. 103 words per minute. Not gonna lie, I was not expecting that. Clearly much easier to type on than the Kyle Blue keys, the ones that were very, very clicky. Another 101 words per minute. Okay, not gonna lie, this keyboard has taken me by surprise, looked a little bit playful, but actually was pretty good for speed. That's above the baseline of the keyboard I've been using for the last year and a half. I quite like the keys to be honest. They sound good, they feel good, they're not hard to type on, but I think my favorite is still this one, the first one that I tried. But let's see if I can find another one that I like even more. All right, now for the next keyboard, I wanna try something a little bit different. This is the OG80 dark side with cherry blue switches. Now I know from my research and from talking to a bunch of people that cherry blue switches are very clicky. So I'm excited to see what they look and feel like. For all of you, Matt Black, everything fans out there. Got the cable, switches, et cetera, et cetera. Oh, very interesting. This has kind of a see-through shell so you can kind of see deeper into the keyboard.  Oh, back here you can really see deeper into the keyboard. That's very nice. So this is quite a big chunky boy with this big fan kind of grill thing on the back. And then the profile of this keyboard over here, as you can see, is kind of in a hockey stick shape. It starts low and then curves up. And so each one of these different shapes makes for a different typing experience. Ooh, okay. Some nice red backlit keys. Yes, please.  The keys themselves, very, very clicky, but honestly not as clicky as that light blue cat keyboard that we used before. This has a hard bump halfway down. You can really feel it. I feel like if you're gonna be using this keyboard, you need to ask all of your housemates and roommates before you buy it. So I think they'll be able to hear it from the room next door. But it feels very easy to type on. I feel like this might be able to break the speed record. Let's do a quick sound test first. Really nice, honestly. I think it's cycling between purple and red lights. Very, very cool. Now, let's go for the typing test. 98 words per minute, not very fast. The accuracy was not very good either. I find that as soon as I start thinking about the fact that I'm doing this typing test, my performance goes down. But anyways, let's try again. 97 words per minute. It's not the fastest one by far. I suspect that it's because it's not linear and it has that little bump. So maybe it's a bit harder to press on the way down. You have to work a little bit harder to press the keys. And so I suspect it's not as fast for that reason. But super, super clicky. Very interesting sound if you're into that type of thing. I think personally I prefer the more muffled ones, but I know a lot of people who'd love to have a loud keyboard. So maybe this one is for you. OG Darkside tested onto the next one. This is heavy. Mechanical Keyboard Hitchhiker, F97. And this one comes with Cherry Red switches. Really liking the design of this one. Wow, that looks really, really nice. If you're like in an office environment or have roommates close by, this is the one to go for. Got a lot of space elements, loving this beige and gray sort of olive green color scheme as well. And yeah, got a little Rocket satellite spaceship. And it looks like it's backlit as well. It's currently on red, but that can be adjusted to anything that you want.  Kind of wish this is the original one that I had bought instead of Cherry MX Brown when I bought the Iconics keyboard ages ago. Really a big fan of this. Now this profile over here feels to me like the space bar area is a bit more curved up and then the keys in the middle are further down in sort of that U-shaped plateau. So it'll be interesting to see what that feels like when typing. Well, let's get started. Let's do a typing test. All right, 102 words per minute. So definitely of the faster keyboards that I've tested today. We really like the feel of typing on this keyboard. Honestly, it's really, really nice. Let's try that again. All right, 95 words per minute. Had a lot more trouble there, but it goes to show that you can type fast on this keyboard. Honestly, might be one of my favorites, Cherry Red, eh? This is a really nice and quiet keyboard.  I think this Cherry Red is the way to go. And it has that quiet sound without feeling muffly. Kind of almost a little bit clicky, like the Cherry Browns and the Cherry Blues, but just a lot more quiet. All right, very interesting one. Definitely one of my favorites. Let's move on to the next keyboard. All right, let's do this bad boy, ZX-75 Gravity Wave. Now this has TTC Ace key switches. Let's see what this sounds like. It's a bit of a shake. Ooh. Ooh, this is interesting on the back. What do we have here? We've got these little magnetic removable feet. This is a very nice looking keyboard. I think it's very plain, simple, and fits the overall aesthetic of my desk quite well, where I have mostly whites and blacks. This little knob over here, you can use to turn the music volume up or down on your computer, and you can press to play, pause as well. That's very, very interesting. I like that quite a lot. And then yeah, the adjustable feet in the back, that's quite cool as well. It's a pretty loud space bar. Oh, that lights up when you turn the caps lock on. Let's do a quick sound test. All right, so this keyboard definitely feels muffled. So I really like that. I like the sound of that muffled feeling when you press down on the keys, but it's still quite loud. It still has a little bit of that clicky sense to it. The keys are definitely linear, so there's no bump when you push down. It kind of just pushes it down in one go. Nice, I'm really liking the overall package of this keyboard. Let's see how fast I can type on it. 103 words per minute. That's pretty good, honestly. Types fast, feels nice to type on. I like the sound of it as well, that nice muffled sound. Let's get that second one. All right, 96 words per minute. I'll take it. Really happy with this keyboard. I think it's in the top two for me. All right, moving on to the last two. Here we have the F97 Dark Side, and this is running the Cherry Red Switches. Silent Red Switches. Ooh. These really are silent Red Switches. So very similar weight and feel and look to the other F97 keyboards that we've seen. Really, really nice. Honestly, the quality is just ridiculous. These really are very silent. It's almost like they have a cushion at the bottom, which is like grabbing all the sound. Okay, got some very nice RGB lighting over here, which is coming across the whole keyboard. Love that. Again, if you're a fan of matte black everything, keyboard like this, I think is kind of the way to go. It's a very simple aesthetic piece that you can have on your desk and doesn't sort of attract too much attention to it. And of course, you can have these lights on or off as you wish. Let's give it a little sound test. This is a really quiet keyboard. I'm honestly even surprised that I'm pressing keys as I'm typing. It feels incredibly soft. Kind of like you're pressing into, I don't know, like a fruit or something. It's a pretty weird description, but it's kind of what it feels like. Linear keys, there's no bump as you go down. Let's do a quick speed typing test. 102 words per minute. Wow, that was really good to be honest. It barely felt like I was typing. I don't know, can you even hear that on the microphone? It felt really, really quiet. Let's do that again. All right, 102 words per minute again. Think this is the most consistent keyboard getting the same score twice? Very, very nice, honestly. If you're looking for something quiet that feels good to type on, this is it. And last, but not least, we're gonna do the OG80 wormhole. So this keyboard comes with Cherry MX Brown switches. So it feels like we're going full circle. We started off with Cherry MX Brown and now we're ending with Cherry MX Brown. Geez. Okay, let's get this bad boy out. All right, so right off the bat, this keyboard has a pretty transparent case. And wow, damn, at the back you can really see into the keyboard over there. Now let's see what these keys feel like. Yep, exactly what I'm used to. All right, let's give this a good sound test. So yeah, these keys definitely feel harder to push. You can feel that little bump as you press down. They're not linear. They're bumpy or tactile. I think it's how they're described. Decently loud compared to the muffled ones, but nowhere near as loud as the clicky clicky ones. Ooh, also the RGB lights flowing from the left to the right. Nice touch. All right, let's do a typing test and see how that goes. All right, all right, I'm happy with that. I'm finally done testing all of these keyboards. I feel like I've learned a lot about what all the different switches sound like and feel like. And you know, hopefully you watching this video learned something as well and it can help inform your next purchasing decision. If you're interested in any of the keyboards that you see here or saw in the video, I'll leave links to all of them in the description down below. And that's it from me. Thank you so much for watching. I hope you enjoyed and I will see you in the next one. Peace.


My name is Ellie McClellan and I am a communication major in the class of 2025 and I've been skating for 13 years now. What got me into figure skating was just watching skating on TV and I told my mom that I wanted to give it a try. So she signed me up for basic skills training and I just fell in love with skating. I would say that U.S. figure skating has an amazing collegiate program. It takes a long time to build up a team in a college and I just thought that I kind of want to be the one to start that. I wanted to start a skating club and just be able to do what I love and continue to get my degree. Again, the figure skating club has been one of my main goals from the get-go and everyone I've been in touch with to help me get it started has just been super encouraging and supportive and I really appreciate that. They just make it really easy. They were super helpful. Togetherness to me is equal to awareness and really feeling connected to the people around you. That being said, I think that Purdue University does an amazing job of fostering an environment that really cherishes inclusivity and diversity and we'll all have at least one thing in common and that is that we are all Boilermakers.


Rwy'n fath yw'r ysgolio ymddangos a oedd ymell yn ymell arnaeth ydyn nhw ychydig. A'r ysgolio'r ymlŷn i'ch bod yn gweithio'n ymwneud ffieithio'n gweithio'r ysgolio. Rwy'n ffocws am ddweud o'r ddweud o'r ddechrau yma, a'r Rhys Gwyrd yn gweithio'n ddweud o'r tecnoleg i gael y ddweud o'r ddweudio a'r ddweudio'n ddweud o'r ddweud o'r dod o'r ddweud i'ch cyfrifiadau. I'm going to do that and then any minute now we're going to have some pictures and it's going to be cool and awesome. So the collection started life I guess maybe three or four years ago in the library. We are super grateful for the Amplifier website and that kind of underlying company called DRM for them helping us with this project. So the idea was like there's a whole bunch of published music in New Zealand and it's being distributed through the Amplifier website. We want to ingest it as part of the legal deposit collection. We don't really want to go and harvest the website, I mean we could do, but that's going to take forever. And we haven't got time for that. And so in the end they kind of said, well look, why don't we just give you a hard drive with it all on? So we got a hard drive and it was 2.6 terabytes. On this side closest to me that's a screen dump of a tool that I use quite a lot to analyse data stores, it's called Windy Arstat. And each one of those blocks is clusters of files that are similar. The colours are the same, the size is the kind of bytes number of bytes. And it's kind of quite cut. You can see some regular stuff at the top and then it just kind of descends into what looks like, frankly, madness. And I guess the closest equivalence I could find was this kind of semi-well-organised piles of stuff. And that's not to besmirch what they were doing. It was dumps out of two different CMSs. There was some human stuff in there, 160,000 files, all out of a Mac OS. So there was a whole bunch of resource forks and files that did nothing for us really. There was promo pictures and audio and a few bits of video relatively well-organised like pseudo-sane label artist work, album EP single whatever, and track. But we kind of needed to do a bit of work to turn it into something else. And there was zip files in there as well. So it's just kind of like this big ego, his two and a half terabytes, go and make it into library stuff. And so that's kind of what we wanted to look like. And this side, this is the same tool showing the processed SIP. So this is the submission ingest package, what we ingest. And each of these kind of blocks broadly represents one of those items as we ingested it into the collection. So this is basically a story of how we went from this kind of like organised working active BAU into something that we can kind of deal with in library land. So kind of my part in this job has been to kind of, I don't know, figure it out. I could talk at length about even just moving the 2.6 terabytes onto corporate storage sanely and counting everything and making sure everything was there the third time around when we did it. And every time takes about four days. And I don't know, life's hard sometimes in the public sector. So we had hard drives on a file. We've got phase one. There was this awesome spreadsheet in there which had a whole bunch of tracks listed individually. So we knew a whole bunch of context about some of the content. And then so that was phase one.  As you can see, like one and a half thousand of them.  So for each of these phases, we had to identify every item. This song that exists conceptually on this spreadsheet, there's a corresponding file for it. And on that album that's described by tracks, there's all those tracks are available. We've got them all and there's an image maybe or not an image. And just kind of basically just trying to sift it through a net and trying to turn it into something sane. We wanted to identify the right ones because it'd be kind of bad if we got the wrong ones. We need to make records and we're just going to talk to you about that process because frankly for me that's the magical bit. We need to look for dupes. Dupes were the biggest thing of this project. I'll talk about that in a bit more in a second. And then in the end kind of turn the handle, package them up real neat and then just send them off to the mechanical stuff. So for me it was a project of tool building. We know what we want to do. We roughly know how we want to get there. But we just kind of don't have the tools to do it often in this sector. We don't have a lot of money. We don't have a lot of dev support. Those of you who might have seen me talk occasionally will have heard me describe learning Python because I realised no one was coming to save me. And this kind of growing pile of things I needed to do was not getting any smaller. And that's kind of like Python is the one trick pony that I use all the time to solve all my problems in the world ever. Sometimes not very successful. So we've just built a heap of different tools. I'm going to talk about a few of them now. This one was a fixity tool. So this is just like, these are screen grabs. But this thing just floats on my desktop and it helped me really dealing with fixity file fixity. So our two files bitwise identical. I could run logs and I could kind of do comparisons that way. But I'm unpacking zips and I'm checking whether this version of that file is the same version. Is that file do we need to keep them both? And I made this little widget that I can just kind of drop a file onto it and drop another file onto it and I'll go, yeah man, they're the same. Don't worry about it or like, oh no, they're different. You need to keep both of them. And so that didn't exist. I made it. It does now. You can use it if you want us on GitHub and stuff. It's pretty enough. But it does the job. So I use that quite a lot. The de-duping we've talked about, Rich is going to talk about fuzzy and how we use fuzzy logic heaps to help us do a bunch of de-duping. My favorite thing that we did in de-duping was the biggest matters thing of this whole project. So we packaged a whole bunch of stuff in phase one. We go to phase two. We need to make sure we don't have an existing item. We need to make sure we haven't packaged the same thing twice in this phase and in a previous phase. And so Rich and I must have spent weeks, days de-duping manually. It was interesting listening to Chris talk on his keynote yesterday talking about the human effort. We built tools. We automated a whole bunch of stuff. But we also spend a lot of time humanly dragging and moving stuff around. So one of the ways of de-duping images that we came up with was take all the images, turn them down into 64x64 pixel images and then do a pair-wise comparison for their RMSC, their root mean square error between two images. And if we get a zero, they're probably the same image. And so having humanly de-duped thousands of things and found lots of logical dupes and lots of fixity dupes and lots of fuzzy dupes, we still at the end of the project found dupes by using weird, not sensible kind of methods. It kind of like told us that there's something in this duping problem. Anyway, we're making up tools as we go along. This was probably my favorite part. Because of the transfer problem, it took me forever to move everything. So we ended up, and I borrowed this, I say borrowed, I very, very plainly stole this from the kind of broadcasting world where we make like a low-res online copy that we can edit and we can move those files around elegantly because they're small and compact. And I did that for the whole file system and that means that I can process a file, file name level. And then I just kind of trap those instructions and then I can replay them on the live collection. And it meant that I could rehearse manoeuvres and I could see what happens when I do deletes and renames and moves and I can hand off the collection to other colleagues. We had a contractor doing some de-duping for us. And it meant I could give him the entire collection on a memory stick without any fear of compromising the intellectual property because it doesn't exist. All the files in the shadow collection are nothing. There's nothing in them. It's just a file with a file name. But he could do the de-duping against the file name about the structure. Give me those instructions back and I replay it on the main collection and bingo, like we've done this real nice way of dealing with kind of like instruction compression. Again, it's on GitHub. You're more than welcome to have a go. It's naff, but you know, it saved us weeks and weeks and weeks of effort. And then for me, the other tool that we had was philosophical. And this is my kind of last slide for Hunter Richard. I was trying to find another way of saying perfect is the enemy of good. And I ended on this guy and what's and what. And he was an engineer in the Second World War and he was kind of part of delivering radar. So we could see him. We could see aircraft, you know, 2000, 2500 kilometers away. And I love it because it kind of works with what we wanted to do. And we kind of set the project up and we looked at what we were, what we needed to achieve and we kind of talking to our to our managers and grownups and saying like, look, this is what we think we need to do. And about halfway through the project, we kind of realized that we just have to be a little bit more flexible. We had to just be comfortable with there being errors and the errors were in a controlled way. And rather than trying to make everything perfect every time, we felt like we were just going to be there forever. There's a bunch of other kind of internal reasons why we did that.  We just have to be okay with some error. We have to be okay with there being some noise in what's happening because of the sheer volume that we're doing. As long as we record our records in a way that clearly flags the machine did this work, we know we can go back and clean if we want to. We know there's a reason it's kind of justifying yourself in the record and we could suddenly start moving with a little bit of pace and speed. So for me, that kind of allowing yourself to be as wrong as we are wrong with humans doing human processing. We were allowed to be wrong. It's okay. It doesn't have to be perfect every time. And that really for me was was was my kind of like third favorite tool that we used in this project. And now I'm going to hand you to Richard. Thank you. Kia ora, everyone. I'm Richard. I'm a collection description librarian, also known as a cataloger at the National Library. This role involves obviously cataloging individual publications, but more and more we're working on projects like this one here to generate records in bulk. The records we do create, they're encoded in mark format and we follow the RDA cataloging guidelines. I also catalog digital music as part of my regular work. So individually cataloging digital releases that we collect, which is always interesting. And I get to basically hear the New Zealand's music coming into our collection. All the little niches and sub-genres out there. For example, Dungeonsynth. Has anyone heard of that? Wow. Slides Medal. That's a great one too. It never stops fascinating me this work. There's only a handful of catalogers in our team that actually do this digital music cataloging as well. And currently we describe between 1,000 and 1,500 digital releases a year. So given that current resourcing and not considering regular workflow, it would take at least five years to catalog this diarium project. So obviously that's not going to be feasible like what we've talked about. So I'm going to talk about two main pieces of work today. Matching to existing records so that we can use those and building new records. So we began each phase looking for existing records to use. Prior to this project, we had about 9,500 digital music releases in our collection. So it's highly likely that we have quite a few in this set already. To find these existing records, we wanted to use an automated approach. And we needed to do more than that. We needed to use methods to handle the variation in metadata between the two sets of metadata that we were working with. So we've got spreadsheets from diarium and the records that we've catalogued over time. For example, my name could be recorded in different ways. So exact matching wouldn't work in this case or very well. To solve this, I wrote a script to compare the metadata in the diarium master spreadsheet. It's the first spreadsheet, first phase spreadsheet with all digital music records in our collection. It pulled out the title, artist and tracklist strings for each release. Then used fuzzy matching to compare how similar those strings were with those in the bib records. The process returned a fuzzy score, so between 0 and 100 and with 100 being identical match between the string. If the fuzzy score was over a set threshold for all strings, for all title, artist and tracklist, then we would say it's identified as a potential match. This is just a kind of example of what this looks like. You can see the fuzzy score there with the title. Two slightly different titles and it's got a score of 92 and with artist and track names. As the difference in string increases, the score decreases. So you can see it was important to set a good threshold so that we got good matches. Basically through trial and error we worked out that at about a score of 17 above, you'd get a reasonably good match. So playing fuzzy matching enabled us to catch a much wider set of possible existing records to use. Then it was on cataloging staff, me and my colleagues to make a decision is that actually a good match and we have all these rules around if it's the same publisher, is it the same year and all this sort of stuff. But having this kind of data here was really useful to make that decision quickly. The result was we found over 500 records and this is just an example of one in the catalogue. As Jay said, we used fuzzy throughout the project as well and it became an integral tool to de-jupe the different phases and locating physical records to copy metadata from into the digital records. Where we couldn't match with the existing records we needed to create new records so this involved using multiple sources of metadata to populate custom record templates. I'll just give a brief overview of that process using the example of the master spreadsheet which had all the good information from DRM. So the first step starts with looking at our standard practice for cataloging digital music and making decisions on the available metadata and where it could be used. So this here is a custom record template and you can see just filler text for title artists and so on. And we created multiple templates to handle variation in the available metadata for each phase. So the next step Jay wrote a script to generate records by reading the master spreadsheet and populating the record template for each release. So you can see the spreadsheet metadata there just as a kind of snapshot. The script used pie mark to create mark data and we had some fine tuning to kind of work out issues as we created the records and there was a bit of back and forth between us. Mark can get very pedantic I think that's probably a good word. So once that was sorted the record was created in our library management system via the API. At this point the record now has a record ID which can be used to link the ingested item to our library management system. So linking the digital archive to the library management system. This is an example of one of the fullest type of records that we generated in the catalogs. This is the catalog view. The front end catalog I should say. We adopted an approach to our work that the records don't have to be finished the first time we created them as well. We can do extra passes to update the records. For example a automated copying metadata from matching physical records we'd created so we would describe CDs and vinyl records for matching titles. Automating the copying of that metadata into the digital records. So you can see a contributor possibly at the back you might not be able to see but a contributor with some names there and clickable links that will bring up other items in our collection for those artists. At the other end of the scale is really brief records that we created. This is where we had very little metadata at all to create records. So as you can see there's not really much there but this key word searchable and they're easily identifiable in our systems if we do want to revisit them at some point. So yeah again hammering that point being okay with imperfection and that short record was a good example of that. As a cataloger it's quite hard. You want to see these records kind of full and consistent with the rest of the records in the collection but obviously that's not feasible if it's going to take five, seven years or whatever to do that. So yeah we did make decisions on what was good enough to progress the work forward and it's something we're growing more comfortable with on these bulk projects. I think the benefit of automating stuff has been kind of shown as well in this talk. The good thing is many of these tools we can continue to apply in future projects and or adapt in different ways as well. And finally it's been a good project to work on for me personally. I've had the time and space to try things out to solve problems and continued to develop my own kind of coding skills as well which has had some good benefits in terms of already being able to see problems and create scripts that can identify issues with our records across the whole of the National Library catalogue. So that's been fun. So I'm just really thankful for Jay's work on this project and for our colleagues and managers supporting that kind of approach as well. Thanks everyone for listening. Thank you very much Jane Butcher. We've got quite a bit of time left for any questions you may have. Are we willing to answer? I've got two questions. Actually I've got three questions. Has the amplifier not existed? I came in late. Does it exist? It doesn't exist. Does it exist? Yeah, I thought it existed. So two questions. Do you, you said you used Discogs? So I just wonder whether you are writing into your mark records, Discog IDs or Music Brands IDs, those other, that's straight no. No, yeah, we weren't. So really the question is why aren't you, but we can keep that for another day. And the other question is about internal metadata. A lot of these will have ID2, ID3 tags. Were you extracting those? Are you writing those? Or is that a question for another day? No, I can talk to that. Some of them did, most of them didn't. Actually a lot of it was WAV and it didn't have any metadata at all. And because the MP3s were born out of their CMS, they hadn't written ID3 into a lot of the MP3 either. So we kind of looked at it and it just wasn't generating good enough consistent results to make it worth kind of leveraging that. There's kind of a few files had it in there. We also are not writing that because it's not the process that we use. So we would have taken that, we took the best quality. So just to give you some insight into kind of how complex some of this stuff was. For one simple album, we might have had maybe 12 WAVs and a JPEG image. Happy days, that's super easy. Another one, we might have had three versions and inside each of those versions, there were three versions of the audio. So an M, Mastered for iTunes, the CD audio and the website MP3. And so it was a little bit of bouncing around to figure those out. So just given the complexity of all of those things, we were frankly lucky to find the kind of registered item sanely and that kind of was a different process. Once we handed that off, it goes into the NDHA kind of system and we generate MP3s for everything as a work process and there isn't a plug-in that writes stuff in. We're not cataloging at the track level, we're cataloging at the works level. So a single EP album, what have you. So at the project kind of level, we often knew what the track was called, but by the time it becomes an object, that's kind of gone because we're not atomically working at a track. So it would be nice to do, we probably should do it. We don't and some of the reasons are is the added kind of labour around that and then also the one that gets consumed predominantly happens well away from the record anyway, if that makes sense. To answer your question? Cool. I like the way you said you probably should do it and I think I agree with that. And I think you should probably do the music brains thing as well. That's another problem for catalogers on me, so I don't know. Thank you. Anyone else? Any questions? There was a question about where is this stuff. It's on GitHub. I forget which one of my accounts it's under. I don't know how to socialise. I'll probably tweet it with the NDF hashtag or something. So if it's interesting just look out for a tweet from Oh, I don't even know what my Twitter account is. Something. I think it's NDH. Oh, I'm not using that one at the moment because of reasons. I'll find a way. We'll make sure it is somehow on Twitter reasons. Okay, thanks very much. Thanks again Jay and Richard and it's now afternoon tea time. Get some refreshment in Oceania.