in this video we're going to be talking about e3 game vouchers and more and why this all leads to nintendo having new hardware coming out in 2024 because of the reasoning that nintendo is not participating in e3 but we have a lot to go over a lot of things to discuss so you know what without further ado let's jump right into it so ign originally put out a report last night from their sources that sony microsoft and nintendo would not be participating in the read pop led e3 this year e3 is coming back with a physical event and read pop did put out there that they have a lot of interest from major companies it's just not the three console manufacturers which is unfortunate and does mean that we will likely not be attending the e3 event because the big draw for us and the big reason we would go is to create nintendo content for you guys and while there will be third party companies there with games coming to switch heck maybe hogwarts legacy is playable there it just isn't worth it without nintendo because nintendo usually provided a majority of the demos so without those demos to play it doesn't make a lot of sense for us to attend e3 when we could just do coverage from home about those games and other things when while you might not get those hands-on impressions they're a bit less valuable when there's not hands-on impressions of like a new mario game or something like that so that sucks now what's interesting about this report is that it's not a universal thing xbox as an example is still going to be having an event they're still going to be doing a showcase they're still going to be hosting demos like they do every single time they're just not going to be brand associated with the e3 but they still might let e3 attendees in to play demos so pretty much it's exactly like what microsoft has done this whole time they're just not buying shelf floor space that was probably something read pop wanted them to do instead they're going to host everything at the microsoft theater which is literally right next door to the la convention center so i guess you could argue xbox is still involved but i think they just want to avoid the direct branding association for now but whatever xbox is technically still there sony left in 2019 so nintendo is really the big one that is a bit surprising to have them not participate but we have additional details on why nintendo in particular is not participating because microsoft is still doing stuff but nintendo isn't in why well this comes from video game chronicle who said according to video game chronicles publishing sources with direct knowledge of nintendo's plans the company has decided to skip e3 2023 the events first physical show in four years because and this is the key point it feels it has fewer major releases than usual ready to show which would justify significant event space think about that for a moment nintendo told video game chronicle their sources at nintendo told them hey we're you know why we're not at e3 we don't have a bunch of major games to show to justify spending the money to be there remember the old rumor it's not even that old at this point remember when they said tears of the kingdom would be the last major selling game that report that rumor that thing thrown out there that yeah after tears of the kingdom nintendo has nothing major planned this would seem to back that up yeah pickman 4 you can call a major game if you want but it's not a system seller and they're not going to base an entire e3 around pickman 4 so while there probably is a pokemon game this year and other you know gamecube ports and dlc maybe it's going to end up being an extremely light year and why would it be an extremely light year well typically when nintendo has these really really light years this late in a generation it means a new system is around the corner and nintendo might be banking games for that system you want a new mario game maybe we don't get a 2d one this year maybe we don't get a 3d mario because they're saving it for the next system maybe they think any major game in the works after tears of the kingdom should be in the launch year of the new system because remember 2017 was such a killer launch year that maybe nintendo's takeaway from that was we need to value having a killer lineup at launch we're not going to do the playstation thing we're not going to release major games all the way up to system launch and then not have anything in the first couple years of the new platform that is playstation strategy no we're going to slam it hard and you're one of this new platform and that'll end up coming out at some point next year remember we also had the report from nikkei about how they're negotiating manufacturing terms right now for that hardware likely going to go in production in summer or second half of this year to release in 2024 so you put that into perspective and you go everything is lining up that nintendo is releasing new hardware in 2024 and them not participating in an e3 which is disappointing also with a lack of major games to justify show floor space kind of says they might not even have a general direct doesn't mean they want to partner direct or a dedicated game direct but probably one of a general direct which is also really sad for many of us so that is what's happening there now on the flip side we have a positive story at least for those of us that live in united states and that is that game vouchers are coming back nintendo did a nupsy right we've been talking about this upcoming direct and evidence supporting it and this is clearly something that was going to be in that direct at least in the north american version of the direct because it because nintendo accidentally posted a trailer to their youtube channel and literally took it down within minutes it was was not up for very long it was clearly not meant to be live whoever uploaded it selected the wrong publication date game vouchers were probably going to be part of this direct and for those that don't remember what game vouchers were because we haven't had them or you weren't around you didn't own a switch when they were a thing back in 2019 nintendo launched a game voucher program where you could pre buy a $99 game voucher digitally through the e shop and then you could get $260 nintendo published games so you would have basically not nintendo published games on the 50 bucks so imagine you want to get bayonetta you know the upcoming bayonetta origins games and you're interested in getting tears of the kingdom well you could buy a $99 game voucher and both of those games become $50 saving you 20 bucks so it was a way to get you to buy more games but then save money and it made digital games cheaper and this made a lot of logical sense why wouldn't you take advantage of this especially if you're someone who already buys games digitally so it made digital games $10 cheaper than physical made a lot of sense they only ran it for about six months in the united states back in 2019 from what i can tell i think they're still running it in pal regions and in japan they never canceled the program maybe it's not advertised as much so you forgot about it but they still have it in those regions that's what i'm understanding but we haven't had it here in north america since then i don't know if that was a dug bowser decision or if that decision came from upper echelon of nintendo because maybe people in united states were the ones primarily taking advantage of it and they figured hey let's just send them back to spending 60 bucks on digital games but it is cool to see this is coming back this does come literally from the horse's mouth showed you a little bit of the trailer they published hopefully nintendo doesn't ding our video for that if they do we'll have to repolish this video and just get rid of that footage but guys i look this is really cool i'm glad it's coming back of course it's coming back at a time when maybe there isn't as many major upcoming games so they're hoping they use these on older games but hey you know nintendo doesn't discount their games often so i guess that's not a bad deal and you know what to do because like their avatar is between three and other games that didn't even exist in the voucher program so take that for what you will i'm really sad about the e3 stuff this might be the end of e3 maybe because if what video game chronicle said is true it's possible nintendo has a lot more games to show off next year so maybe they want to reattend e3 so i don't know this might not be the end of e3 for nintendo fans maybe nintendo will come back when they have a much bigger slate of games also this does make you worry about the second half of this year doesn't mean there won't be any content i'm guessing a lot of gamecube remasters which might make a lot of you guys very happy i'm guessing new nso content i'm guessing tons of dlc and new pokemon and pikmin 4 and maybe some smaller mario sports title or mario and luigi i there's good to be games they just nintendo doesn't apparently think they have the major games they don't have the marios and zelda's and all that so like this is the one thing like if tears of the kingdom was a holiday game maybe they think you can justify by show floor space because obviously they would be able to at least talk a lot about tears of the kingdom but it doesn't comes up before e3 so maybe that is it maybe that is the biggest game nintendo has this year and there's nothing coming close to it so take that for what you will so take everything for what it is these are actual news reports out there this is an actual trailer that leaked this is not information that is from like a four-chan thing like yesterday or you know speculative for the most part i mean i'm speculating on the hardware stuff but i mean come on you know i was gonna go there right like you had to expect it because clearly if these reports from video game chronicle and ign are true about e3 there's only one reason that nintendo wouldn't have enough major games in the second half of this year right one reason only because they're saving them and why are they saving them come on let's i don't i have i think i'm making a pretty logical conclusion right anyways guys thank you so much for tuning in i annotated rubber dents from nintendo probably you disappointed in this news or are you uh cautiously optimistic for the next generation system knowing it will probably have a killer launch year lineup or are you just whatever you know what you're like me tears of the kingdom can entertain you for years so it's cool or maybe you just you really want gamecube remasters right it's wild princess winmaker hd bunch of prime hd f0 etc like you just maybe you just want gamecube remasters and you're good with that i mean they did end the 3ds era with mostly a bunch of remasters so i mean i guess it's just nintendo repeating what they've done before maybe time will tell


I think that engineering is a fantastic career for both men and women and women should not be put off by the fact that they think they will be in the minority because going forward they will not be. And I think the opportunity is for people to create, design, deliver the environments in which we're going to live and to design better environments in which we live and work. So thinking about what are great places to live, I think you would feel most satisfied if you spend time doing a role like that and could see the product of your life's work.


good morning everyone welcome to my fall weekend morning routine I have not filmed a morning routine in a while I thought I would just do a little vlog style show you guys just like you know what I'm enjoying my routine this is a weekend morning routine so it's a little more chill if you guys want to see my college or school morning routine if it gets to 5,000 likes then I'll do anyways I woke up at like 730 and it's now 830 I've literally been laying in bed for an hour for no reason so so tired if you guys are new here be sure to subscribe then you can join the family you know just hang out the last thing I need to be doing right now is getting back on my phone but it's the weekend whatever you guys want it you can follow me at Kim's Elizabeth look how cool also I have a Twitter I like feel like I never talk about my Twitter at all I either tweet of 100 tweets a day or I tweet nothing for three days but when I tweet a lot it's very funny okay so since it's fall I have to play a fall playlist I'm gonna head to the kitchen get some coffee and some breakfast I have these amazing pumpkin pancakes I am so excited I put these up Richard or Joe's the other day because they're honestly just looks cute and I'm a little excited but now I'm gonna make them so now I'm gonna make breakfast make some coffee listen to my fall playlist I bought my speaker in the kitchen it's the best I brought my breakfast into my office and I'm gonna do my morning reading I did an entire video on this you guys want check it out it'll be linked down below I don't know why I can't speak of the pancakes smell absolutely amazing I am very excited for them so that's great vanity now I'm going to start getting ready so I'm actually gonna straighten my hair today which is very out of character for me I never straighten my hair but thought I should try something now just doing my serum so I've been using for literally ever this green one canceled that redness which is awesome but I like self-tanned a little bit so it doesn't work as good as normal when I'm like a little bit tanner I'm like out of this now awesome my favorite serum so it's not good I'm gonna use the Hydra gel one instead not the same but whatever I'm gonna do a really like simple easy makeup look I think unless I go a little bit crazy but I'm not really feeling that today I have this foundation I haven't used this really on camera at all it's a L'Oreal true match loomi healthy woman even little luminous makeup that's a little bit tanner and it kind of just gonna give me more of a glow I hope so we'll see I like never use anything basically besides a cosmetic CC creams but I'm out of those and I need to show something else on my channel it's really a problem born this way concealer and what I'm like the boy this way consider that I've been using has been too light so I'm gonna try this one which might be too dark we'll see no that's good it looks way lighter on camera everything looks lighter on camera right now I don't know why I've also been contouring my face because it's born this way it concealers they're multi-use sculpting concealers so you're supposed to sculpt your face with them so I've been doing that it's been a little bit messy it's not my favorite thing I've ever used but I'm out of my cream bronzer so it'll do remember I said I was gonna get crazy here I am I know this was happens on camera I like put one thing of makeup on and then I just keep going it's like I have to like keep putting stuff on I don't know okay I'm gonna do a little bit of baking I know I said I wasn't going crazy but it's just because it needs to set my makeup did the two-faced just like a translucent powder and bake with that so I also like baking because it makes our freckles come out more I don't know why that is is that a thing got all over my counter that's awesome so I'm just going to bake with that it's gonna bronze up my face a little bit while I'm waiting for this to set and then I will just like lightly just kind of go over my eyes like this so it's not like actual eyeshadow but it gives them like that it's a weird thing that I've been doing but I like it quickly I'm going to do my brows and then I'm gonna dust off my setting powder now I'm going to oh gosh every time I open any powder it gets all over me I'm just going to quickly brush off the rest of this powder and just set my face with the cosmetics it's like bye bye pores powder what is it bye bye pores it comes my next is like genuinely my favorite makeup brand which is random so I feel like it's not that many people's but it's mine it's like really easy stuff that's kind of like naturalish looking I don't know by far my favorite now I have to do mascara it's my least favorite part I just push this off as much as I possibly can okay and then for lip gloss I'm just doing it the two-faced lip injection extreme this is not always extreme reading this is weird instant and long-term lip plumper also don't think it's long term but it is instant sometimes sometimes it doesn't do anything and then other times regardless it's still like a really good lip gloss and then other times your lips are like on fire and they really pump them so when it does it it's amazing but sometimes it doesn't really pump my lips and it just is like a nice shiny lip gloss you never really know what you're gonna get who knows okay so now I'm gonna start training my hair I'm gonna go all out with this straightening thing I literally I don't think I've straightened my hair in a long time using the dry bar strainer I've had this for months actually don't even think I used it so I have this outfit that I'm planning on wearing it maybe just throwing on a sweater and then some boots like my dogs or something something casual I've changed I'm ready for the day I'm actually no I'm not I don't have my hoops head these hoops literally make me feel like they're gonna just rip out of my ear at all times so it's a little bit scary but completely worth the risk they're from urban literally pretty much any of the earrings that I wear from urban why can't I figure this out what is going on here today figured it out so obviously in the fall in LA it's pretty warm so I'm just wearing this white tank top some jeans and some sneakers it's just a really easy like on the go weekend running air and outfit for me it's still like 80 degrees here so this is what you're getting for today so now that I'm ready I'm on my way to Alfred to get my coffee today yes I've already had coffee today but I'm also going to Alfred I'm driving there listening to Lainey okay so I have my iced chai with oat milk I love the summer Fridays collab with Alfred big big fan just got my iced chai with oat milk I don't know why I can't speak of that's ahead to my car and that is pretty much it for my fall morning routine this is just a chill weekend morning routine I really hope you guys enjoyed if you guys want to see more routines let me know which ones you guys want to see down below how many times can I say routines in like one second I have no idea love you guys so much and I'll see you soon bye


Hello, welcome to this talk about the paper lattice-placed signatures with tight adaptive corruptions and more. This is a joint work with Jason Paan from NTNU. As the title of this work already suggests, this talk will be about digital signatures in the lattice setting. So I want to start it with recalling what a digital signature scheme is, which you all should be very familiar with as it is one of the most fundamental cryptographic building blocks. So in a digital signature scheme, we have a user Alice that sends a message M to a user Bob. And the user Bob knows the public key of user Alice, so she can append a digital signature sigma to that message that Bob can verify using the public key. And this will ensure authenticity and integrity of this message. So typically we think of a scenario where we have an adversary that also knows the public key of Alice and can interact with Alice. So he can learn some signatures from Alice and he can then try to forge signatures on arbitrary messages for Bob. And we model this using a cryptographic security game of unforgeability under chosen message attacks. Here the adversary first gets a public key pk and then the adversary can ask for signatures for arbitrary messages of its choice. And in the end, the adversary outputs a message signature pair M star sigma star and he wins this game if this is a valid message signature pair and the message is fresh. So he never learned a signature for that message. Okay. So if we look at this and this is the standard notion, we see that this is not quite what's happening in the real world. Because in the real world, we don't have two users. We have many users and many systems that all have their own key pairs and can communicate with each other and make use of the same system parameters. And we can have an outsider adversary that just observes the situation as before. But we can also have insider adversaries that can corrupt users and learn their secret key material. So we should also model this in our security game. And this leads to the notion of multi-user security under chosen message attacks with adaptive corruptions. In the following, I will just call this multi-user security. Okay. So in this game, the adversary first gets a public keys for N users. Then he can again ask for signatures for messages of its choice. But now the adversary can also specify which user should sign these messages. And then the adversary can, in addition to asking for signatures, he can also ask for secret keys so he can corrupt users. And in the end, he outputs a message signature pair for some target user iStar. And he wins this game if this is a valid message signature pair now for this particular public key. And this user is not corrupted. So he didn't learn the secret key and he didn't learn a message, a signature for that message M star for that user. Okay. So this is a notion that is closer to practical scenarios. And let us compare these two notions. So the left one, the single user security is a standard one and the right one is the multi-user security. So if we look at this, then it is relatively straightforward to see that a reduction can just take this public key and embed it in a random public key of these N many. And in the end, if it guesses the index iStar correctly, then it wins. So we have a straightforward guessing argument that shows that asymptotically these two notions are equivalent, meaning that if you satisfy single user security, you also satisfy multi-user security. And this somehow justifies that the left one is the standard notion. But if we look at the argument in more detail, then we see that the security loss that is related to this reduction is proportional to the number of users in the system. And I will explain to you why this is not good and why we don't want to have that. So to do that, let's look at the typical proof that we have in cryptography. So we have an adversary A that breaks the scheme and we say we can build a reduction that uses A as a subroutine and solve some hard problem. When we do that, we establish a relation between the success probabilities of these two algorithms. And let's call this multiplicative factor the security loss. So asymptotically, you can take any polynomial security loss and you will end up in a secure scheme because if epsilon r is negligible, l is polynomial, then epsilon a is also negligible. But if you want to use that reduction to derive concrete parameters for your scheme, to use it in practice, then this security loss l becomes important. Because if your security loss is, let's say, 2 to the 30, the number of users in the system, then you need to pay 30 bits of security. So concretely, assume you want to achieve 128 bits of security and your security loss is the number of users in the system, as we saw in the slide before, which can be 2 to the 30. Then this tells you you need to set the parameters of the underlying assumptions to support 158 bit of security, which will lead to inefficient concrete parameters. So motivated by this, we want to have tight reductions, tight security proofs, where the security loss l is a small constant and we don't lose that much security. Okay, so, as I showed you, the single user security notion for digital signatures non-tightly implies the multi-user notion. And in fact, the multi-user notion, in addition to being close to real-world application, it also tightly implies other cryptographic primitives like identity-based signatures and authenticated key exchange. So it is somehow clear that if we want to have these primitives in a tight way, then we should better construct tightly secure signature schemes in the multi-user setting. Okay, so let's see what already exists in this area. So let us see what is the state of the art for digital signatures in terms of tightness. So for classical assumptions such as D-Log and RSA, we have tightly secure schemes in the single user setting. And we also have such schemes for post-quandum assumptions such as Lattices. But as I motivated, we should look at the multi-user notion if we want to say something about reality. So let's see what is there. So in the classical setting, we have two quite practical schemes. One is from last year's PKC by D-Mart et al. And the problem is that we don't have any such schemes in the post-quandum setting. So we don't know how to do that. And to fill this gap is our main goal in this work. Okay, so I should mention that there is a folklore approach where you can use an awe-proof and some online extractable NISIG such as the Unruh transform, but that will lead to non-compact signatures in a sense that the number of group elements or vectors that are contained in one signature grows linearly with the security parameter. And this is not efficient, so we are not interested in this approach. So to summarize, our goal is to have a signature scheme with tight multi-user security from post-quandum assumptions such as lattice-based assumptions with compact signatures. Okay, so let's see why this is not easy or not trivial to achieve. So think about the following scenario. You already constructed a scheme and now you want to prove the security of your scheme. Now the question is, which of the secret keys of these N users should the reduction know? Because let's say you know all the secret keys except one, this one. Then even if the adversary just randomly asks for one secret key, then it will hit this with probability 1 over N, meaning that we end up in an untied reduction. And this means that our reduction should always be able to answer corruption queries, meaning that it has to know all the secret keys. But if we know all the secret keys, then we can just forge without using the adversary. And this is a contradiction right to the security of the underlying problem. So this is a key idea that is underlying many impossibility results in this area of multi-user security and tightness. So if we look at these impossibility results, we see that they require somehow more or less than that the secret keys for our scheme are unique. And this already gives us an idea of how to circumvent these impossibility results, namely one to have non-unique secret keys. So let's see how to do that. So our higher level idea is that we have a public key that is composed out of two public keys of some underlying scheme. And a secret key is one of the two secret keys. So the reduction knows one secret key for each of the users and which one this is chosen at random. Now the signatures should also not reveal to the adversary which secret key the reduction holds. So this should be some witness indistinguishable proof. And finally we also want that the forgery that the adversary returns can help the reduction if it is with respect to the key for which the reduction does not know a secret key. And this means that in the end we succeed with probability one-half and we have a security loss of one bit which is tight. Okay so that's a high level idea and to implement this we need some form of or proof to hide which secret key the reduction actually knows. And this high level idea is the core of the theme at our framework from last year's PKC and they achieve tightly secure signatures in the multi-user setting from classical assumptions. So let's see how this framework works and how we can transfer it or let's say generalize it to achieve the same thing in the post-quantum setting. So DEMA that I'll start with a lossy identification scheme with some random self-reducibility property. So I will tell you what a lossy identification scheme is in a few slides. And then they use a sequential or proof which is just one form of or proof to transform it into a digital signature scheme. And in the end they can instantiate their framework from classical assumptions such as DDH. Our first step is to generalize this notion of a lossy ID and random self-reducibility to a so-called multi-key lossy identification scheme. And then in the next step we show that you can achieve this multi-key lossy identification scheme if you start with a dual mode commitment. And then we instantiate this dual mode commitment from LWE and a group action based assumption which captures isogenes. And finally we also show that the DEMA that our instantiations are actually also instantiations of our more general framework. So in the following I want to look at multi-key lossy identification and how we can construct it from LWE. Okay, so what is lossy identification? We start with a canonical identification scheme where a prover holding a secret key can convince a verifier holding a public key that he knows the secret key. He does this by sending a message R, receiving a challenge C, and sending a response S back. An example is the Shenor identification scheme. And then the verifier can verify this transcript and we want to have completeness in a sense that the honest prover can always convince the verifier. Now this is a canonical identification scheme. What is a lossy identification scheme? A lossy identification scheme is a special form of this identification scheme that has two modes of public keys. So first we have a normal mode, which is what I explained to you on the slide before. So here we have completeness. But we also have a lossy mode public keys, which are generated without a secret key for which we have some form of statistical soundness. So even an unbounded adversary cannot convince the verifier with non-negligible probability. And finally we want to have that these modes are computationally indistinguishable. And AFLT, which introduced these primitives, show that this tightly implies single user security for fiat-chamia signatures. So we want to look at multi-user security. So we generalize this to multi-key lossy identification. And here we have basically the same guarantees, but now we want that N public keys are computationally indistinguishable from N keys that are output by our lossy key generator. And they can possibly be correlated in some sense. Okay, so we know that we can have a multi-key lossy identification scheme that implies a signature scheme using the sequential or proof technique S&D metadata framework. And the question is how can we construct this scheme from lattice assumptions? So this is what I will tell you in the following slides. Okay, so first of all, what is the problem here? So we want to show that there is some way to generate N keys that is computationally indistinguishable from N lossy keys. And in particular, as we want to have tight security, this indistinguishability should not depend on the number of keys that we have here, because that will correspond to the number of users in our system later. Now for lattices, or in general, whenever you want to show this tightly, the way to go is random self-reducibility. But for lattices, we only have this for the plain versions of the problem in a sense that the number of samples is not important for the security guarantees that you have. And for structured variants such as ring LWE or module LWE, we don't have this guarantee. Unfortunately, if we look at existing lossy identification schemes, we only know schemes for the ring and module version of this problem. And they make use of the ring structure, and it's not clear how to transform them to the plain setting. So our goal is to have a multi-key lossy identification scheme from plain LWE. And to do that, we do not rely on these previous ideas, but instead we rely on something that seems to be independent, namely regf encryption. So in regf encryption, your public key is a matrix A, which is basically an LWE sample. Now your ciphertext for a message with some randomness set, which is typically a Gaussian, is A times set plus an encoding of the message. So the details do not matter here, but we can already use this to construct our lossy mode for our identification scheme. So in our lossy mode, we first send a random ciphertext to the verifier, and then we get back a random message. And now our challenge is to open this ciphertext to that message by sending the randomness set. And of course, this is an encryption scheme, so for each ciphertext, there's only one plain text that you can actually open it to, and therefore even an unbounded adversary has no chance, essentially, of winning this game, except with negligible probability. Okay, so this is the lossy mode. Now we also need a complete mode, like a normal mode of our identification scheme. And to do that, we generate a matrix with a trapdoor. And such a trapdoor allows you to sample Gaussian or short pre-images of the function that is induced by A. And this is statistically close to a uniformly random matrix, which is computationally close by LWE to our lossy mode key. And then our final identification scheme, which uses R as a secret key, works like this. You send a random ciphertext, you get a random message. And now you can use your key, your trapdoor, to sample the randomness set that opens ciphertext to the message M. Okay, so what I showed you now is how to use LWE to get a multi-key lossy identification scheme, and we know how to turn that into the signature scheme that we want. So this is good, but let's take a step back. So we identified here that the regf encryption scheme has some form of dual mode property, where you can generate the keys either to use it as an encryption scheme, or if you generate it differently, the keys, then you can use it as a perfectly hiding commitment, a trapdoor commitment, basically. So we abstract this in the notion of a dual mode commitment scheme, and we show that you can achieve this from LWE as I showed you, and also from a group action-based assumption, and also from the classical assumptions. So this is our final framework. Okay, to summarize our results, we have a generic framework from dual mode commitments to tightly secure signatures in the multi-user setting. And we can instantiate it from variety of assumptions, even post-quantum assumptions such as LWE or isogenes, and it gives us the first tightly secure post-quantum signature scheme in the multi-user setting. And the second contribution is an impossibility result, which I didn't cover in this talk at all. But what you have seen is that this framework of D-Metadal and also our final framework use these sequential OR proofs. So this is a form of OR proof. But there is also a different prominent form of OR proof, which is a parallel OR proof. And in our work, we show that using parallel OR proofs, you cannot achieve tightly secure signatures in the multi-user setting. Yeah, so if you're interested in that, I did not cover it in the talk, you can look into our paper. Okay, so I want to conclude with some open problems, which are related to our results and which can be useful for future work. So we constructed a tightly secure signature scheme in the multi-user setting from LWE. But what about other assumptions like search assumptions like SIS or structured assumptions like ring LWE, ring SIS and so on? This will definitely give us more efficient scheme than what we have so far. And also our scheme is proven secure in the random oracle model, but for post-quantum assumptions you would like to have the quantum random oracle model or the standard model. So this is the other direction, what about the model, right? So can you achieve a more desirable model? Okay, so that's it from my side. I thank you for your attention. And if you're interested, you can look up our paper on eprint. Thank you.


My point in putting this workshop together is to walk you through the steps of creating an online course. I don't want anyone to be under the misconception that you will actually create an online course in an hour. That would truly be a feat of magic. But I do think that sometimes it's not working. I'm going to run it from the thumb drive. We'll just do some more magic. So what I wanted to do was just walk you through what our courses actually look like online. I can't walk you through the Coursera course right now because it's not currently in session. If it were in session we could, but I can't. But it doesn't really matter because in fact conceptually the courses are set up the same. So even though I'm going to show you the back end of our online courses that are fee based, the Coursera course from a user's point of view would pretty much be the same experience. Oh, there we go. Something loaded. You turn up the sound a little bit. We're going to be doing a little bit of a studio workshop right now. That's all we've got to know. I'm just going to pause, call there for a second. Thank you. And so here's the plan. The plan is I show you what the online courses look like in the MoMA space. And then we're going to divide up into production groups. It's okay if you're not here with someone you know. You will know at least four other people by the time you leave the workshop. And that's one thing I didn't do, which is I didn't count you off, but we'll do that soon. And each of you are going to have a role to play in this workshop environment. And then as a team we're going to walk through the steps of what it takes to even come up with a preliminary plan of what an online course could be. I encourage you to be creative as possible because the content at this point is completely fictitious. But I think a nice exercise, if most of you are from New Zealand, a nice exercise might be to think about the different institutions that you're either from or you've learned about in the conference and to see if you can come up with courses that use more than one institution. Because the point here would be how can we collaborate as content entities to make these courses happen. So that's the only thing I would sort of throw your way is that think about this as being a collaborative endeavor. And so the fact that you many of your, probably all of your teams, you won't know everybody on the team. You know, that's kind of part of the magic then. Any questions before we start? Okay. So what I have here is the actual course that we have offered probably for about a year and a half from our MoMA site. And it's called From Pigment to Pixel. It's basically a look through, a quick look through the history of modern contemporary art largely considered because it also includes design and architecture through the lens of color. So how did color affect the trajectory of modern and contemporary art? They're not recording this. Are you recording this? You're recording this. Okay. So you need me to speak into the mic. Right. So speaking into the mic, that's getting a little echoing. So we created this course as a kind of alternative intro to modern art. Thinking that color is a very accessible media way to look at history and kind of unusual. And those of you who follow such things might know that the Cooper Hewitt under the auspices of Sebastian Chan, who's the man who recommended me for this job, just released a whole way of exploring the Cooper Hewitt's collection through color. This isn't really related, but the idea of looking at content via color seems to be in the air. So we're happy to be part of it. We use a software that's called Haiku, H-A-I-K-U, just like the Japanese poetry. It is generally available. There's nothing exclusive about it. It's not very expensive. It is a hosted solution. So you don't have to install on your own servers if that gets your IT department grumpy. The biggest advantage of using Haiku is that it is extremely easy to use. And what I mean by extremely easy is that my educators who primarily work in the galleries and who have very little tech experience can learn very quickly how to build a course, how to update a course, how to manage a discussion forum, and they have absolutely no problems with it. The downside of Haiku is that internally it doesn't have very good video service. And so what I mean that is that in fact the New Zealand students that I have, because you guys live in the future, you often tell me before anyone else that the video is down. And it's not down for everyone, but Haiku doesn't have its own reach. So I employ separately a video service which is called Bits on the Run. And Bits on the Run has servers internationally, and they're able to stream the video in the way that my students like it. So if they have a certain kind of connection, they can stream it that way, or if they have a certain browser, what their plugins are. Somehow Bits on the Run knows, and the performance is good. Every once in a while, you know, there's a blip, and believe me, I hear about it right away. And so all of that is to say that when we're using, this is just an FYI, when we're using the Coursera environment, it's an entirely encapsulated system. They serve the video, they do the registration, they support the software. Frankly, my job is so much easier when I'm in a MOOC environment, because I get all of that service for no fee. Whereas I pay for the other stuff, and it's a little leaky. You know, if a browser gets updated, all of a sudden we're troubleshooting why the content's not being served to mobile devices, or why people with IE can't see it, and it kind of sends us in a tizzy. And I realized that coming from the Museum of Modern Art, and you know, when I was talking about how many millions of people come to the museum every year, you might imagine that I have a team of programmers behind me, and that I just snap my fingers, and things happen. But in fact, it's me, who I'm the only full-time permanent staff member, and I have a two-year grant funded 20-some-year-old, who of course can do many more digital tricks than I can, and a 12-month intern. So between the three of us, we manage this whole online course enterprise. So just keep that in mind. I'm not really allowed to impose my desires on the IT department, because they're pretty busy, and so we really kind of have to figure it out ourselves. So maybe from that point of view, we're not so different. So the course, as you see on the left-hand nav, and you've got a little preview of this downstairs, is very much organized like a book, and I kind of feel apologetic about that. If anyone knows of a learning management system that is more experiential or visual, or if you're interested in collaborating on creating such a thing, that would be my dream, because we are talking about art here, and I would really like to keep the visual information. I just haven't found one that's robust enough. So I'm still in the left-nav environment, and I'm still in a chapter-by-chapter progression through the weeks. But the basic ingredient is to start with the welcome and the troubleshooting and all the sort of preliminary materials up top, because believe me, students look for that all the time, and if you don't have it up top, you're going to send email saying, look at the top, or find it where it is if it's not in the top. And then this is a instructor-led course. I think I mentioned this morning that there's two kinds, one with teachers and students and one without. So if it was without this interaction, if you just enrolled as a self-guided student, you wouldn't have the option to say to introduce yourself or some of the other things that we'll get to in a minute. If you look down, every week looks pretty much like week four. So this one is broken out in a couple different sections. We usually have an art history lecture, which is generally speaking an expert talking about the topic of the week. In this case, it's the architecture curator talking about the history of the Bauhaus. And you probably know, maybe you don't, but in fact the Bauhaus had a huge effect on how modern artists thought about color. And some of the most famous artists that came out of the Bauhaus came to the U.S. and taught color theory in American institutions. So there's a huge connection there, and that's what the art history lecture is about. And then we often have a hands-on, hopefully always have every week a hands-on component. And the hands-on component is usually a simple exercise that you would do in your home. You don't need an art studio to do it. It does require you wanting to get your hands dirty and buy a few supplies. But other than that, it's usually pretty quickly executed. And let's see if we can finish this video where my colleague Calder is explaining a typical Bauhaus exercise. And also talking about some of the terminology that we have been looking at already in the previous workshops. So most of us listening probably recognize that melody from somewhere, from our childhood, from hearing it hundreds and hundreds of times. It's twinkle twinkle little star. And one of the things about our auditory memory is that it's really, really, really strong, and it's really, really, really distinct. So for example, if I start to play the song, now everyone probably has the next note in their head. And when I do play it, the sound that comes out is going to be very, very close to the sound that you have in your head. So for example, right? But when we try and transfer that sort of memory to the visual side of things, especially when we start talking about color, it becomes really, really difficult to keep those colors clear in our memory. So for example, if we keep with our twinkle twinkle little star theme and we talk about Starry Night by Vincent van Gogh, Vincent van Gogh's painting is one that I've seen probably hundreds and hundreds of times. And if I had to draw it, I could probably get the outline of the images pretty close to reality. I could see on the left side this tree jutting up into frame. I could see the sky kind of rolling around behind it. The stars in the sky coming over from left to right. And that's kind of the general outline. And most of us have... So I'm going to stop it there. But you get the idea that we're trying to be, you know, since we're teaching to a general audience, we assume they have no background in art when they take these courses. And so we try to start with a very simple idea and then work them into the more complex ideas. And by the end of this exercise, he is doing something with papers, special papers, that allow you to understand the difference between hue and tone. And then we ask the students to do that. Then that experience becomes the fodder for the discussion area, which I'll show you in a minute. I think I'm going to be able to call upon archived discussion topics. So yes, here they are, color, hue and value. And then you see that Marissa was talking about how helpful this lesson was. And then down below Harriet, you know, is responding to her. And then Akai, you know, shimes in. And then Corey, the instructor, brings in, you know, his perspective on what's being said. And in a nutshell, that's kind of how the most simple, basic discussion goes. Sometimes we have a whole class 35, 45 students full of chatterboxes. And sometimes we have wallflowers. It's kind of the luck of the draw. But at the end of the studio courses, and this is sort of a blend art history and studio, but especially the studio courses where they really are much more focused on the how to do it, how to paint, an abstract painting, how to make a collage. Those courses tend to result in those kind of Facebook groups that I mentioned before. Are there any questions? Okay. I think that's pretty much enough to get us started. So what I was going to do now is just go through, and sorry, I just, we had the technical difficulty. So I didn't set this up quite like I thought I would already. Okay. No, not okay. Yes, okay. Is it showing up? Yes, excellent. So what I wanted to do is just walk you through... Oh, first of all, this was my inspiration for the organization of the workshop, which I was looking around in the TAPAPA database just looking at the images, trying to get familiar with the collection. And I found this really jolly guy here who's a factory worker. And he's actually a good icon to have in our mind because his name is Charlie and the photographer is Glenn Bush. And Charlie is probably one person in a whole system of things that have to happen in a certain order, in order for the outcome to be perfect. And that's kind of the view of what you want to think about when you're putting together an online course. So we're going to start with probably the most influential position. I'm not going to say important, but the most influential thing that you have to have is the manager. So the manager is responsible for the quality control. There is an issue of time. So the manager is going to say, you know, we're going to launch in June. And so we got to start production in January and we're going to be done by March and then sort of lays out the chunks of time when things have to happen. But the manager also needs the idea maker, which in this case is the teacher. So they have to choose a teacher who's familiar with a certain kind of content. And for our exercise today, you know, if you want to be a teacher in your group, think about the kinds of content that you would be interested in doing. Here are a few examples that might be fun and interesting. You also have the producer. In this case, I mean media producer, which is, you know, where does it make sense to have video? Maybe we make an interactive feature for this. Maybe this is where we have a slide show of images rather than a video. Are you making a real video or are you just going to record the audio and have a PowerPoint slide edited with the audio? We do that a lot. It's a lot easier to produce. And it gives more flexibility to the teacher to do editing than if it's, than if we're editing from a real video, both sound and image together. There's my colleague, David, who helps me a lot with the video production. And then you have, I mean in this case, I use the word packager because honestly, in this particular workshop scenario, you know, the editor isn't going to really have a lot to do, but you need someone who's going to look back at all these disparate elements that may not really be fitting together well and to be kind of the QA to say, you know what, there's too much in week one, there's not enough in week two. I don't really get what you're trying to get out in week three and sort of be the feedback loop for the others who are producing the content. And so these are the, you know, whatever icons I could find in PowerPoint that might suggest that. And then you need the advertiser who is making up the messages of how they're going to sell this course, what are going to be the top line communication, words, images, slogans, concept, quick video, whatever it is, you need to be able to get the word out about what you have.  You know, you can make the best content in the world, if it's sitting on your server and no one's signing up, it's not really a good outcome. Oh yes, and more silly clip art. All right, so one other thing I wanted to show you was that thinking about the cycle of content, you might want to keep this in mind. And I didn't really use a particular logic in making this circular motion, just that every week this happens over and over again. So let's just say you start in the bottom left corner, and you want to make sure that you've, every week that you've organized your content in a way that is absorbable. And what I mean by that, and I spoke about it a little bit this morning, is that, you know, some students like to watch videos, some like to read. We often offer URL links out to just elucidate certain points that are really important. Every video that we put up on the site is captioned, and sometimes our non-native English speakers really rely on those captions, as well as people who cannot hear. And with every video, we also provide a slide list, not only to fulfill our requirement for all of the information about what the artist is and the title and the date and permission request information, but also just to give the students a chance to really focus on the images. Because sometimes when you're making a video, you're sort of in the narrative and you're not really having the opportunity like you would in the gallery to step out of the narrative and just stare at the painting. So we make the video, it's about the art history, the follow-up with the slideshow that lets them have that visual access. So think about the way that you present the content that overlaps, maybe even in the actual information in the content, but that is overlapping and takes advantage of the various ways you could present that information. And maybe you'd even come up with other formats I haven't mentioned that could be part of your content module. So then if you're moving up towards the top to exchange ideas, this is like the discussion forum area. Think about things that would be really good topics for people to talk to each other about. In a classroom, as a teacher, I'm often calling on the students to find out if they do their homework, and I'm making a mental note that I'm then writing down on their record about whether I think they really got it or not. That's not really, if you're teaching to a general audience, and in this case we are, we're not working towards a degree or a certification or anything. I'm really much more interested in putting out questions that get people talking to each other. So what do you think about the content? Or maybe I'll even, sometimes I do this, sometimes I require them to go look at a work of art in a gallery. It doesn't matter which one, wherever they're living, or just look at work of art anywhere and come back with this particular content in mind. Color, let's say, if we're talking about color, and then to respond to each other, and that would require them to upload a picture of their adventure to the gallery and for them to talk about it. And that's a really good way for people to chime in and exchange ideas. It's non-threatening. You don't want to set up a situation where they have to have specialized knowledge to answer the question. What a way to create absolute silence in the discussion forum. Is this all nodding heads? We're good. We're together. So moving over to experiment, that's more about the hands-on situation. And sometimes the thing I just described in discussion kind of bleeds over to hands-on. But it's so rewarding, I think, when you're studying art, even as someone who's only involved in the art history part, to actually have the experience of making. And we've started this new program in MoMA where we've thrown out all of the traditional style lectures. You can't go to MoMA anymore just any day and show up at 11 o'clock and a lecturer will appear to you and they will lecture to you for an hour. We used to do that twice a day and not anymore. What might happen is that you're in the galleries and a cart will appear and on the cart are lots of clipboards with pencils. And I might say to you, this is an intervention. We're gonna draw. And you have no idea that I'm coming. It's not on the schedule anywhere and I start passing out pencils and paper and before you know it, everybody's happily drawing. And then I started discussion. Wow, look what you noticed in this drawing. Did you notice that in the same way? And people start comparing their drawings and, of course, some people get a little concern that they don't know how to draw right. But when you're in an abstract gallery with Montreal, you know, it's just geometric abstraction. All of that goes out the window. Sure, I'll draw a line in a square. But the thing is, it's not the point of it and the visitors pick it up right away. The point of that is not to create a perfect drawing. The point of that is to get you looking. It's just an exercise to get you to focus on the act of looking. And down on this corner is to show mastery of some kind. This is something I struggle with with the general audiences, less so with the Coursera MOOC because the intention of the Coursera MOOC was to build the pedagogical skills of the teachers. And even if they weren't teachers, that 40% that showed up that weren't teachers, they're there. I mean, I'm not going to skew my content for them. The point was, we're making a class for teachers. If you come, that's fine.  And so if I know that they're all teachers, I'm much more comfortable coming up with assessments that would be teacher-y and relevant to their background. So the final project for the Coursera course, which to my surprise, 1,500 students did everything in the Coursera course, including the final project, which was a lesson plan. So they had to make an elaborate lesson plan for one of their classes that involved all the skills and the subjects that we had talked about for four weeks. And 1,400 did that and then they got a certificate of completion. So in order for them to get that certificate, I had to assess them along the way. So there were quizzes about the reading and there were, I can't even remember now, there were certain things they had to do. They had a post in the discussion session and then the last bit was the lesson plan. And I just think that, you know, we might reach in that way maybe a couple hundred teachers a year but reaching 1,500 at that level for us was just phenomenal. Whoa, it's getting a little wiggly over there. All right, so you might have other ways of showing mastery and I would say that this is optional but I'm putting it on there as it might fit into your goals in making the course. Okay, so now it's time to do the workshop part and I'm going to guess that we'll probably fit into four groups but here's how I'm going to do it. So those of you who really see yourself or maybe you already are managers and you want to be in the purple team, can you come up to the table over here? Oh, come on. Stand up, you must move now. Come on. I think I need at least four of you and then if some of you are going to hang back to see which groups need someone, that's fine, thank you. Managers, very important role. All right, next, who wants to be a teacher? Okay, teachers, go over by the blue post, the blue end of that table over there. Great, four teachers, five teachers, excellent. We can have six teachers, let's see what happens. One of you might have to move around. We're just going to fly by our pants here. All right, now, producers, who wants to be a producer? Media producer, do you think in video? Okay, go to the green end of the other table. Now, if you're at a color end, take one of the post-its and stick it on your shoulder. So this will be important.  And then promoters, the rest, wait a minute. Some of you didn't go, we might have to make another group. All right, stop talking. We're going to share now, and I want to make sure that everybody hears everybody else, because remember, peer to peer learning, very important, right? You all learned that this morning. Oh my goodness, you guys are really recalcitrant. Do I have to use my teacher voice? Hello, table four and three. There's a column between us, but I can see you. All right, so everybody turn around, face me. I'm the director. I'm going to call on my marketers to be the ones who are going to pitch the course to me. We stepped into the elevator and I'm saying, oh, what's going on? You know, I'm going to have a press event tomorrow. I'd really like to have something from you that I can promote in the press event. So, group five, let's hear it. Wait, actually, Tamara, can you come up into the mic? I don't think everyone can hear you. Well, we thought it. It's going to be an eight week course to tie in with term two, 2014. It's a sort of a package deal with input from Tiara and from Ako Zenziela, National Services to Pining. It's a course on the women's suffrage movement in New Zealand. It's very important, but it's tagged towards secondary school students. They get to understand New Zealand's important place and social change. And it also slightly coincides with the women's suffrage from the 120th anniversary this year. And so, if you were the director, that's great. I just turned to ask a question. What would be a likely question from the director? Anybody? How much is it going to cost me? Oh, it's a bargain. It's $20,000. $20,000? But it's really, really good. And how are you going to get the message out to the students? Budget is still not packaged out, but as they are the internet generation, we made an online backing drive through email campaigns, through social media, and hitting up the appropriate groups at various high schools. Any other questions that the director would ask? Group four, may I have your promoter, please? Bring your paper. I just want to mention that very often, I mean, although we did this in less than an hour, very often the people on the team have to play more than one role. You might have already guessed that. Rarely do we have five people on the team actually playing these separate roles. Team four. We decided we would have a course about planning a wedding, and we would have four modules over four weeks, and our wedding could be sort of thematic, so it would be the full-out, you know, cost is no expense being kind of full-grown wedding, and then you would have the chief and cheerful barbecue on a beach type thing, and then you'd have the registry wedding, of course, if you're sort of knocked up and your husband's going off to fight war, and then we'd have their loading off to a specific island, so everything that you would need to do to plan those kinds of weddings. What's next? What would the director ask? The audience is people getting married. Yeah. What about how? Did you see that was a request? He thought $2,000, and it would just say $500, but he wanted to examine it first. And are you going to charge admission for this? Oh, right, yeah. Right, that would be an important lead. Okay. I would say you're pitching your director something that, you know, is a bit off-topic, let's say. Like... We were initially with that. Anything else the director might ask in the elevator? Did he answer all your questions? You don't have any other questions? How are you going to... Oh, we didn't quite get to that, but... So obviously through all the usual sites of the website and Facebook and Twitter, but also through, like, Riot Expose and Fabric Shops for Riot and things like that. My question would be where are you going to get the answer? Who are you working with? Do you have the answer? Oh, the Victorian Albert exhibition. Is there anything local? Is there anything local? Is there any organization that you'd be working with? We mean the Victorian Albert Museum in London. The what? Yeah. I'm sorry. I'm sorry. It's not a public project. Yeah. How about the site we looked at yesterday? We're all site. Here's a group of... Okay. All right. Just as an aside, people will pay to take lectures that are not on such, like, you know, let's say, commercial topics. Group three. Send me your promoter. Bring your notes. What do you have for my question? We are... Sorry? So then you wish you'd taken the stairs. Beginning to. We have been planning a visual literacy course for year 11 to year 13 students. Okay. The course itself takes four weeks. And it's exploring visual literacy through political programming. We're planning a four-week course for year 11 to year 13 students. Sorry. It's a visual literacy course exploring visual literacy through political cataloging. It's going to be a digital NZ platform and taking any material that's available online, really. $15,000 is the initial budget, but that includes promotion as well. So I think that's a really good deal. Are you going to get this message out? Initially, we... We're working with teachers. It's teacher collaboration by the initial parts, but the secondary parts, it would be people presenting to each other. So it's details of the course, but it's three streams happening at the same time. So three age groups sort of presenting to each other and spreading the word that way. And also inter-island, like, political issues. Political issues in North Island are quite different from the ones in the South Island and sort of exchange students. Any questions from my friends, the other directors? OK, good job. Thank you. Right, you know how you've been wanting to get more collaboration in the glam sector? Yeah, how did you know? I was just reading you. And we've actually got some really great existing resources, specifically Kete, that we think we can get a lot more value out of. We are wanting to, using, from a little point of view, we are wanting to, using a run a pilot project where we get existing Kete and run a course that's aimed at professional development, with the impact being that they're professional teachers and institutions to be able to help communities tell their own stories. So what it is, it'll be a six month course on how to use Kete aimed at professional and other things. Yeah, yeah. Yeah, yeah. I may have to get out of the elevator. Oh, why? You know what I mean? It's just like, you know, time's running out. Stop. What are my questions? How much has it been announced? Well, we're going to be drawing on the resources from across institutions but we're going to be about $20,000. How are you going to market the scores? What are people going to do? Through the professional communities that are going to see that. Sounds a little abstract to me because what you want to do is you want to say, like, we're going to use, you know, Twitter or we're going to do a lot of things. So it's a professional development course. So I probably wasn't there for the, like, for example, the community at Indiana. So I'm using the existing network of NDF to communicate out about the scores. That would have a very strong message for me. Okay. All right. Excellent. All right, take us home. We have one. I don't know. Yeah. Let's go. You guys are tired of us. Okay, thanks. Well, our course is an online course about bird identification with sound recordings. We're using a big archive in New Zealand that has a lot of beautiful sound, bird sound recordings. And it's a mix with the virtual world. So as we meet our courses online, but students, high school students also go into the field and make their own recordings. So they're making a user-generated community of local bird recordings. So it's a great idea for students and high school teachers. So we really think we can sell it very good. We're going to intrude into the biology teacher community and the marketing Facebook in their in their world. So it's going to be great. So I think you all have to join. And did you say how much it was going to cost? It was only $25,000. And we use existing platforming tools. Did anyone pick up on the one thing they did that I don't think I heard anyone else do in terms of how he described the course? You talked about what they were going to do. You talked about they were going to go out and use these bird sounds to learn about birds. I forgot what exactly you said. That was a key part that I think they were going to go out and record. So the crowdsourcing bit was an important component. So good job, good job, good one. Any questions, thoughts, reflections about did this workshop work for you? It's not a lot we can do, but was it a good way of learning? Did you learn by doing? Yeah. Any other questions that you want to share, reflections about the process or the content or making courses on your own? Here I am. Yes. I didn't hear your question. When you did the introduction of captions. Were those closed captions or was it like a transcript? We don't put entire transcripts on but if students ask for them we will send them to them. So it's really by request but these are closed captions in the video that we usually do.  I just want some overall reflections which is that thinking carefully about all the ways that you can use media to teach is really important. And I know you don't nearly have enough time to think about that but it really does create a lot of value for the online course experience. And that's one thing I really want to emphasize. And the other thing is that when you're describing these things and you have five minutes for the director really focus on the action works. We're going to do this, it's going to do that students will do this, this is what the outcome is here's how much it's going to cost in like five sentences no more. And you know just helping you get your ideas across. I don't know how it works in New Zealand but I'm often asked to stand and deliver in a too short amount of time for other complex ideas. So I have to constantly be thinking about how I'm going to sell this piece. But I have to say for throwing you guys into hot water you did fantastic. Because the promoters were really in the hot water I have a special present for them from the moment I started.