Hello, my name is Kim Dias Holm, or den Unge Holm, and welcome to the free art show because art should be free. Free to use, free to download, free to change and to modify and make your own. Free to tattoo and even free to sell. So all the art... I drew a bat because your bats are cool. And both of these are nice warm-up sketches. And that's one of the great things about drawing a request is I always want to draw a bat or a dolphin, but I seldom draw a bat or a dolphin, and getting it as a request is a great excuse to draw it. Then we drew the Dias main image, which was the Norwegian nautical spirit or spectre called Drogen in his half boat fishing for souls at sea. So it has some of the folklore of Drogen, who is a sort of the spirit of those dead at sea. It might even have some echoes of the goddess or the Juten Iran who is fishing for souls in Norse mythology. And yeah, that was the main piece. But after we had done those pieces, I still had time for one more. And that was a request from, I think it was from our very own non-crazy crazy cat lady on TikTok, who asked me to draw witches dancing around the fire, and we came up with that one. So today I will be starting with something that is sort of a monster and sort of maybe monstrous, but probably not. The thing about my daily ink monsters is that a monster is a really wide definition. And some of my monsters are silly, some of them are just made up, some of them are based on folklore or mythology, and some of them are gods or heroes. And you may say, but gods are not monsters, heroes are not monsters. But that's only true if you are in the culture that worships those gods or heroes. One culture's gods is, in many instances, another culture's demons. One culture's heroes are very often another culture's, again monsters or villains. So that's the whole idea. So today I will draw, as my daily ink monster, it's a bit of a stretch, it's a bit of a weird one. But hopefully the art will be good. I will be drawing the Faravahar from Iranian mythology, from Suruvastrian mythology. And the Faravahar is a symbol of secular Iran these days. So I thought it was fitting to actually get to draw it and to talk a little bit about its history. Okay, so you have maybe seen me end some of my drawings with this circle, which is called an Enso, which I've taken from Zen Buddhist painting. But I usually do that circle at the end of a drawing in order to see if the fates or gods approve of the drawing, if the drawing has a spiritual theme. But with this one I have to start by doing the Enso, the circle, the circle of life you can call it. And if we manage to do it, then we are good to go for today's drawing. Let's try. Focus on breathing, relax, feel the brush, feel the paper, feel the circle. And draw. That's good enough. So with the circle of life done, we'll start adding the other symbols to it. And the Faravahar is originally an even older symbol than Suruvastrianism. It might be originally portraying the Assyrian god Ashur riding in his sort of a sky chariot or something like that. And then in Akameinid times it was used as a royal symbol on the Akameinid palaces. And it's on the tomb of Darius the Great and probably some other places. It's in Persepolis. It's a lot of places to be found in the royal symbology of the Akameinid Empire. And then after the Akameinid Empire, the symbol sort of vanishes for a while. And then it is rediscovered and taken into modern Suruvastrianism in modern times in the 19th and 20th century. And that's where it gets its modern symbology. And we don't know how much of those symbols were associated with the old Suruvastrian symbol. Maybe everything, maybe nothing. We simply do not know. But the modern interpretation is that the circle here, that is something like the circle of life. That's not unexpected. Circles are often circles of life. Then there is a man in this circle which might be, it might be the royal spirit of old Suruvastrianism. The royal blessing, the royal glory. But in modern times it is interpreted as an old man symbolizing wisdom, the wisdom of ages. Hello to everyone in Dritat. And I'm going to draw him like I remember him from my interpretation of as I think he looks in the Akameinid stone reliefs. But it's again my interpretation. I see that there's a question in the chat about tagging my indigenous inspired art. And I do have some indigenous inspired art from different places. And on my website, on the ungehadhorum.smagmag.com where you can find all my art for free download. You can also search tags. But I don't think I have an indigenous tag. So that is probably, maybe that's something for the future. Now, the modern interpretation of the Phara Vahad's hands is that one of the hands are pointing forwards and up. And the other hand is holding a ring of promise or ring of, can even be a ring of marriage.  Pure modern interventions and how much actually has some link to whatever the old customs were. The wings, which I'm starting here, have, I'm going to try to make the feathers come more alive. The rings have, they have this arm here. And then they have three rows of feathers. And in modern Soroastrianism, some interpret that as the pre tenets of Soroastrianism. Which is to quote and tuned to ride, shoot straight and speak the truth. Or good deeds, good words, or good thoughts, good words, good deeds, I think. I don't remember the, I don't really remember the, the, which, which comes first. Like those, do good deeds, say good things, think good thoughts, yes, that's the gist of it. Or as Santum says, to ride, shoot straight and speak the truth. Which is based on the old Achaemenid interpretations of these Soroastrian virtues. Now from the ring here comes two, these two thingy mobs. And one of them, the forwards one, represents I think good things and good thoughts and the backwards one bad thoughts. The same with the feathers underneath. Again in modern interpretations, represent bad thoughts, bad deeds and bad words. Cyrus the Great, yes, so we don't really know if Cyrus the Great was Soroastrian. We can assume because Darius was certainly Soroastrian. There, there are no Faravahad symbols in Persian culture from, that are definitely from Cyrus's time. But from Darius the Great's time, we do have a lot of these Faravahad. So that's it. Yeah, I think, I think this one is done. So we will number it number one, one, four. I need to figure out which number it is because I subtract of them all the time. So yesterday was the Gaul and that was 42. And this is the Faravahad, which is, so to ride, to shoot, to speak the truth. And there are other interesting things about the Faravahad and Soroastrianism. And like they have this, the royal glory, which is sort of their version of the mandate of heaven from Chinese mythology. Which is the power which Ahura Masta invests in the kings. And there's also this other spirit, which I don't, I think it's called the divine glory or something like that. Which is more acting similarly in some ways to the Holy Spirit in Christian mythology. And there was a comment here saying that Sansei Cyrus was the foreshadowing of Jesus, biblically speaking. I think you've got that a little bit wrong. And so in the Old Testament, there are a few instances where the text calls someone a messiah. That's a saviour of the Jewish people. And Jesus, of course, is in Christian mythology a messiah or the final messiah. At least until the second coming of the semi-final messiah, you'd think. But Cyrus is great because of his role in freeing the enslaved Jewish population of Babylon and restoring the temple of Jerusalem. As far as I know, I might be getting this wrong. As far as I know, he is the only non-Jewish person called a messiah in the Old Testament. So that's sort of the link. It's not a foreshadowing of Jesus, it's just the one in the line of messiah characters. So that was our first request and our ink monster for the day. And whether the Farabahad means the divine spirit or it is simply a symbol of Iran, of secular Iran as it's used today. Or it is a symbol of Soroastrianism in how I interpret the idea of making ink monsters, it fits beautifully in. Even though I'm not trying to say that this symbol is monstrous, but to some it will always be. Okay, so that was our first drawing. Let's try one more.  And I don't know if I'm going to make this or if I'm just going to be talking about it. But I got some very sad news on the way here. I read on Kim Yong-gi's official Instagram that Kim Yong-gi passed away instead. And if you don't know Kim Yong-gi, he was an absolutely brilliant artist. And he was one of the few other artists I knew of that used a pencil color brush. I've been using the pencil color brush since 1997, 1998, somewhere there. And it's been very good to me and it's been a crucial part of how I learned to draw with a brush and draw directly with ink. So in honor of Kim Yong-gi, I thought I would do the whole of today's live with the pencil color brush. So as far as I know, there are not all that many artists using this brush. The first, I started using it in 1998, 1997, somewhere around there. Then a few years later, I learned that Yuji Shinkawa of Metal Gear Solid fame uses it. And then I actually met Stan Sakai, who makes Usagi Yu-jimbo at a comic book festival. And I showed him this brush and he asked me about it. And a few years later, I was told that he used this brush. So maybe I got Stan Sakai to use it. And now, a few years ago, I discovered the amazingly gifted, skillful artist Kim Yong-gi. If you think, I'm good with ink, you should definitely see Kim Yong-gi. Very different style. The way he controls his brush, the way he makes his figures come to life, the way he shapes his images. It is breathtaking. It is unimaginably good. So yeah, I thought I'd try as best as I can to channel a little bit of Kim Yong-gi. If I can, I hope I may do him justice. Okay, so that us, he always often started way up in some random place on the page. And I would try to just do that. And what made Kim Yong-gi's work so special was how he shaped his finger mobs, his figures. And the accuracy and detail of his visual library.  But it was really inspiring to see his work. I only saw it on YouTube and Instagram and stuff like that. It was extremely inspirational and I will take the time to... I've always said to myself that I should take the time and swipe more of his techniques. And I think now is the time. Now is definitely the time. Now I've been getting some questions on both on YouTube and TikTok. And I missed one of the questions on YouTube. And that was, did you go to school for mythology and art or self-taught? So both for art and mythology, I'm mainly self-taught. For mythology, I'm all self-taught. I'm a high school dropout.  I did go to one year of a sort of a pre-academy art school.  So I'm not time well spent to say put it like that. And for mythology, I've always just been really interested in mythology. And also, for instance, when I talked about the Faravahar now, that comes from having an interest in the Achaemenid Empire for a long time. And also reading up recently a few books about ancient Iranian mythology. I have about three books on that subject. I also have a book on a couple of books on the Achaemenid Empire, including one with a lot of translations of the clay library that was found in the burned remains of Persepolis, which is, unfortunately, it is mostly business transactions and stuff like that in the burned clay library, but it still has some interesting tidbits about the Achaemenid Empire. And these are books that I've read to various degrees. I haven't read every book from finish to end, and I always pay more attention to some parts and less attention to other parts. And then before, I knew I was going to draw the Faravahar. So before this live stream on the way here, I actually listened to a couple of YouTube videos about the Faravahar and also read the Wikipedia article. So Wikipedia is not necessarily a good source to use by itself, but it's a great source to verify things you know and sort of remember, but have sort of forgotten. And it is really hard to keep track of all this information because my mind was never meant for storing information.   And it's very hard for me to store information without adding to it.  Just a double-check facts and two. What I'm doing now is I'm trying to work in a way where I'm more than just reacting to ink blots and improvising the art from these random blots. I'm trying to do things in a more Kim Young-ie sort of way and to just begin one place and then add slowly to the image and hopefully make it all appear as one by the end. And I don't know if this might be a complete failure because I have never sat down on live with this approach in mind and improvised an image. This is the first time World Premiere. And I notice I have to pay attention to the YouTube because sometimes the camera will sort of drift a little bit. And if it continues to drift, the YouTubers will only see my jars of water, which I'm not using. I'm not using them because I'm using the pencil color brush and you don't need to dip that in water. Probably can, but I don't see what the point would be. What would be the point? I don't know. So the idea that I'm working on now is one of the requests I got was from a Danish sci-fi convention. I don't know if it was officially for that convention or it was from someone associated with it who thought, oh, that's a good idea, but they asked me to draw a gateway to another world. And I thought that maybe I would draw a dimensional portal, a dimensional portal from a Cthulhuoid dimension, but seen from the other side. So that is the general idea. A gateway to another world. So a brain. Yes, a brain, a brain. Ooh, maybe. What do you use in your hand? It's the pencil color brush. And I'm noticing that when taking this approach to the art, first of all, it is a lot slower than my usual ink art is, so excuse me for that. And also, it's a lot more nervous. And I will loosen up in a while, I hope. But slower nervous is the way to go. Pentel color brush is the brush, yes. So you get these, you can order them online or in good art stores all over the world. They will have them. And I really like working with them. I've worked with Pentel color brushes for 24 years, I guess. I do use a lot of other brushes as well, but the Pentel color brush has a very special place in my heart because it was so crucial for me in learning how to work with a brush. Good art stores only. You may find them in bad art stores as well. You may find a lot of things, a lot of places. But I would recommend trying to go to a good art store. If you don't have any good art stores, then go to the art stores that you have. Support your local art store, if you can. So there's a question here on the TikTok. Does my brush have a name on it? And I don't know quite what the commenter means. Maybe they mean to ask if my brush has an individual name, like if it's named Claire or Louise or Archibald. And the answer is no, because that would be sadistic. Because I, with my brush techniques, kill so many of these brushes that it would be absolutely sadistic to give them individual names. I know it doesn't have a name on it. No name on this brush. Hello there, Joy. I absolutely can't draw with those yet. And that's a very usual thing to say about a pencil color brush or about any brush at all, or about especially brushes with this type of Chinese or Japanese tip, which goes from very thick to very thin. And it's very common to be afraid of those and say, I can't draw with them. Other people can draw with them. I can't. But I would actually say that this brush is a very good beginner's brush. It's not an easy beginner's brush, but it's a very good beginner's brush. Because you can learn a lot by just jumping in and playing around with it and trying to master the thin strokes and the thick strokes. I'm doing all the precision work that I'm doing here, like this, and also doing the thick and nasty lines. My brush's name is no name. My brush's name is nobody. I named my brush after Odysseus in the Odyssey. I can take a little break from this and just show one of the main ways of learning how to use a brush is to learn how to do straight lines. To do straight lines going from thin to thick, from thick to thin, thin all the way through and thick all the way through. Practicing those lines hundreds and thousands of times, that's one of the things you do in order to master the brush. You get some mastery in the brush. When I'm talking about mastering the brush, saying that I have the brush figured out, saying that that's how you develop a mastery in it and with art, the mastery is something you work on all through your life. It's not something you're done with. So that is important to know. Now, if you are enjoying watching this, whether you're watching it live or on the YouTube replay, please do share it. Do spread it around and make a little tweet about it or repost it or just show it to a friend of you who you think might enjoy it, because getting word of mouth and organic spreading of my videos is the most important way of slowly getting more traction and slowly getting more followers and more eyes on the art, which will help with getting me to a place where I can use even more time on the free art, on the art for free use. Hello to the new viewers. Now, as you're noticing, if you have questions, it's perfectly possible to ask the questions while I'm drawing on the live. That is not only permitted, but it is encouraged. That's one of the fun things by going live like this, is to try to manage to keep focus while people are asking things that are completely irrelevant or relevant. You can go with relevant as well. So if you have questions, then please do share. I guess that's fun. So if you're watching this, please do share the stream. There's a lot of things going on with this work that is potentially very might mess up. For instance, defining the dark spaces behind the tentacles is a potential place where it's easy to mess up. Now, around an hour left to finish this one piece, and I've worked on it for how long have I worked on it for? Probably about 20 minutes. And if this is 20 minutes, and I have three times that time left, then I actually need to start thinking of ways to hasten the progress. If I'm going to finish in 45 minutes, I need to figure out ways to make the process go quicker. At this moment, it's making me think of Cthulhu pretending to be Santa up and down the chimney. Oh, it does look like a chimney. It does look like a chimney. That is awful. That is not the idea at all. We need to do some things with it to make it less chimney-like. It's not supposed to be a chimney. So, just a few little remnants here. Let's do a little twisted tree-shaped thing here. Any idea about that empty wallet body? This is a commenter who keeps asking me about drawing an empty wallet. And I have no ideas about empty wallets. That's not something I consider in my art style. But the free art show would be a perfect place to actually sit down and do the planning and thinking that would be required to draw an empty wallet and to make that cool somehow. And am I going to do it? I don't know, but if I was going to do it, then here would be the place. So, maybe I'll draw your empty wallet at some other free art show. But today, definitely not. But keep with your... Maybe your persistence will be rewarded in the end. Okay, behind... Let's get through here. I need to do some sort of shapes. Maybe signifying some sort of old, ancient city, something like that, something in the background. I'm going to start working more towards my regular messy style less towards the line work style. If you're watching this on TikTok, then do keep tapping the hearts and tapping the screen to give hearts, to give more likes, to stream to get a few more people into the chat. So, same if you're watching on YouTube. I don't know how you do that on YouTube, but keep commenting and asking questions and keep the live vital. I'm going to have to quicken parts of this. YouTube can only give one like. Oh, no, but you can give many comments. I'm trying to watch the comments on YouTube as well, but it is harder to watch them the way my camera is set up. So, what I'm noticing here is that I have to go between these sort of fast and loose brush strokes and the thinner lines that I started with in order to make it go quickly enough. Actually, at this point, I'm thinking that maybe it won't go quickly enough. Maybe this will not be finished on this here live. Oh, no! That would be a disaster. People would be rioting in the streets saying, Kim, Kim, why didn't you finish your Cthulhu Christmas picture? It's not a Cthulhu Christmas picture. That's a cool brush. Can you drop the bean's name? I'm guessing you're asking for a brush's name, which we've talked about quite a few times on this show so far, but we can repeat it. It is a pentel color brush, and it's a magnificent little brush with ink cartridge, so you don't have to dip it. It's really good if you need to take your brush with you to work outside, or I use these when I go to black metal concerts live. This is the brush I use, or the type of brush I use. Good black underneath here. Again, to hasten the process to quicken it. So, new question. Hey, you're a very good artist. Thank you. Have you ever wanted to do digital? I did work digitally for years, in fact. And I loved working digitally, but once I switched back to working non-digitally, working with brushes again, I really haven't looked back. I haven't missed doing digital work in any way. What's your opinion on Sweden? Since I'm Norwegian, I guess I'm supposed to have a spicy opinion on Sweden. But I don't. I've only been to Sweden, I think once, to the Sweden Rock Festival to see Entombed and Judas Priest, among others. I saw TNT, Halloween. It was fun. That was great. I loved that. And Sweden has a lot of good metal, a lot of good music. It's the home of greats, such as Cornelis Vröschvik. A lot of good metal, as I said, entombed, batain, ghost. So much great music. Abba! So much great music from Sweden. I think Swedish is, in some regards, a much more of a poetic language than Norwegian. Than Bukmål's Norwegian, at least. I mean, the dialect in Norwegian is a lot more poetic than the writing language of Norwegian, which is notoriously hard to do poetry in. Another question is, are you an HP Lovecraft fan? Does it look like I'm an HP Lovecraft fan? Yes, of course. Lovecraft is definitely... He's actually my favourite writer. He is one of the few things in the world that I have actual expertise on. So for instance, when I'm talking about mythology or the Achaemenid Empire or politics or anything like that, I am very much talking out of my arse. I have a very broad knowledge but very little real in-depth knowledge. In-depth knowledge on a few small places but mostly very broad knowledge. While on Lovecraft, I would actually say that I have some expertise. So, with expertise, I mean that I have read all of Lovecraft's writings including all of his ghost-written stuff, his childhood stuff that's published, his poetry, a lot of his essays and articles. I've also read most of the biographies about him including some of the obscure ones. I've also read a ton of Lovecraft academia articles about interpreting aspects of his work, about the problems of his work, about the problems of his scholarship around him, about the problems and the history of the fandom around him. So, there was a question here in Norwegian but I'm going to translate it. Can you order specific subjects? Yes, that's exactly what the Free Art Show is for. It is for requesting specific things like this one which is someone requested a portal to another dimension or to another world. And this is my interpretation of that. And you can be more specific or you can be less specific. What you can't do on the Free Art Show is to do commission requests. So, if you ask me can you draw a portrait of my mother-in-law then the answer is no.  No, that's not the reason. The answer is no because I can only draw things that I will be putting out for free use. That's the whole idea of what I'm doing here. These pieces will be released for free use as soon as they are scanned. They will be uploaded to the Free Art Show gallery. I also have a ton of other galleries with works for free use. And you don't want your mother-in-law put up for free use.   Yes, if you, by that mean able to live off my art alone like most artists are, then yes, with a combination of art and some sales, some commissions, some teaching classes then yes, I have been able to make a very meager living for many years now. But the last year I've been pushing my Patreon more and more and we've gotten up to about $2,000 a month on Patreon which is starting to look like a Norwegian salary is still not quite at the level it needs to be but it's getting closer. That has allowed me to hire my assistant Echo for two days a week in order to get a little bit more done. But if you want to support me to get even more done and even more free art out there for free use, then please do consider supporting on Patreon. Now we have about 40 minutes left. Can we finish this piece? Which story from Lovecraft do you think is best? So that sort of depends on what you are after and what mood you're in. So if you are looking for a story that's a good... Lovecraft didn't really do trilling. He wasn't a horror writer in the traditional sense. He didn't try to create trilling action filled stories. That's not what he did. He wasn't a Stephen King. Not that there's anything wrong with that but it was a very different genre. He did art for art's sake. But if you want a story that is both good to read and is a good representation of what made his style of horror special, then the shadow over in Smouth is brilliant. It is really creepy. It is really weird and special and it's also got action scenes. It's one of the only Lovecraft stories that has something resembling an action scene. And that's kind of fun. If you want the best sort of pure Lovecraft, if you want to experience what Lovecraft was trying to do with his art in the purest sense, then I would agree with Lovecraft's own estimation of his best work. And that is the color out of space. The color out of space is really just an incredibly oppressive mood piece. And that's what he was trying to create. Instead of having a structure where you have this sort of a drama curve with crills and chills and breaks in between and action and romance and all that stuff, he was trying to build stories where you had a singular oppressive mood and just built that one mood from the beginning to the end without stop. That's the sort of the ultimate Lovecraft story or what he was trying to do. And there's other things involved like he was trying to explain the unamable and to use his adjectives in order to paint pictures that are impossible to visualize to comprehend. And his best attempt on doing all of that, on doing the scientific realism, on doing getting the humanity in it, on getting the dream-like or nightmare-like logic in it. On all of those points, there's one story that does it better than anything else and that is the color out of space. And that is just a magnificent story. It's very oppressive. It is kind of hard to read but it is also very, it is chilly. And it is disturbing in good ways. Mountains of Madness was my favorite so far. Mountains of Madness is his only sort of almost a novel of, so his longest work of those that were published in some shape or form when he was alive even though it was cut to pieces and edited beyond recognition and that was a sore disappointment for him. But the, you know, it is the longest story we have from him which we considered a truly a finished story. That and the shadow out of time. But the color, I don't know, at the Mountains of Madness is it is a harder read than both color out of space and shadow over in its mouth because it is so long and it has these very long passages that are incredibly dense and a bit hard to read. I do enjoy it. I think it's great and it's really interesting in how it builds this back story of forgotten civilization, lost civilizations and man's insignificance in the cosmos and it has all of those themes which are not present in the same way in color out of space or shadow over in its mouth. So it's very much recommended in that respect. But in that respect I would personally prefer the shadow out of time. I think that shadow out of time to my taste flows better as a story and it is in some sense Lovecraft's most hopeful story because it is a story where humanity at least has a little bit of place, a little bit of purpose which isn't the usual fear for Lovecraft. And it was one of his last stories. So it's interesting to see how he changed outlook on a few things during his last years and it would have been interesting to see how he had evolved if he had survived to see World War II to see the hippie movement or all of those things. He was a terribly conservative and racist and very problematic character even in his time. But it would have been interesting to see how he would have seen all the changes to society because he was also so opposed to the society he was born into he always felt like he was born out of time so that would have been interesting to see that would have definitely been interesting to see. Are you planning to add red ink or other colours to this piece? I will not have time to do that I'm actually wondering if I should scan this piece I will scan this piece of course to make it available for free use but maybe to scan this piece and colour it digitally. That would be the first time in a very long while I can't even remember the last piece I coloured digitally. That must have been years ago now. We are sort of running out of time with this one we have probably around half an hour left. That would be interesting to see. Would you be live steering that too? I don't know if I would. That depends sort of on if I can make the setup for that easy enough. My son loves deep sea creatures and I would love to have access to this one You will get access to it once it's scanned it will be uploaded to the gallery for free use and there are a lot of other Cthulhu and deep sea things around in my gallery available for free use. So definitely check that out. I'm noticing that I'm rushing things a little bit in order to get finished with this one. I think I will have to do this one in two parts and probably to colour it digitally as well and to do some sort of mix between digital and traditional art but I will finish this part of the piece. Do you know the story The Black Stone by Robert E. Howard? Yes I've read quite a bit of Robert E. Howard I find his style very fun very easy to read. I'm no expert on Howard so I don't know. I can't really read it that in detail. I know I've read the story. I don't remember any of the details so sorry about that but I know that I did read it because I think it's is it in one of the collections of like tales of Cthulhu Midos I think it is. If I'm not mistaking it with another story So have you ever done a piece of Asatoth? Yes I have and I posted it on the tiktok. If you scroll back probably a month or so you can find the piece it's in my Daily Ink Monster Gallery as well I think I reposted the Asatoth video this month or not this month but last month September I think. So yes it was in one of the collections with other stories from Lovecraft. Yes that's where I have The Black Stone from. It didn't leave an impression on me when I read it the things I've read most of them Howard's work is The Conan Stories which are really as you know pulpy shlucky fantasy they are great fun. Again very problematic character. I mean you can read Lovecraft and Howard's letters to each other where they are spent on their racial theories which is completely awful reading Howard is deep into loads of things that would become like ancient aliens conspiracy theory that type of theories about the origins of races and stuff like that which is Lovecraft is equally racist but a little bit more scientifically grounded not in his racism but in his skepticism towards a lot of those more out there theories but it is interesting to read the letters between the two of them if you can stomach that amount of intense racism on a paper it is do you find that an author's problematic views decrease your enjoyment of their work? Yeah of course of course but in the case of Lovecraft for instance you also have to or you don't have to but you can also look at it like there are themes in Lovecraft about what he's writing about is fear he's writing about the nature of fear trying to explore why we as humans are afraid and it makes sense that his life would be ruled by fear not only the fear of people different than him which would be you know I mean xenophobia would be one of them but also the fear of poor uneducated educated people the fear of other cultures the fear of not just black people but Jews and I mean he had problems with Norwegians there was time in Lovecraft's life when he sort of took in a Norwegian kid to as his apprentice thing or something to learn him some culture and stuff like that and he ended up very disappointed about how the Norwegian kid turned out to just be a Norwegian after all even you know any one who didn't live up to his standards of Anglo-Saxon upper class highly uneducated he had really huge problems with this was one aspect of his fear he had fear of nightmares he had fear of the sea fear of fish fear of cold he had so many fears and he had fear of success he sabotaged his chances at success again and again and you know that writer who is so ruled by fear should choose to investigate fear as deeply as he does in his work is sort of perfect it adds to his work the fact that he was really afraid of I mean afraid of everything of society of modernity of people and I'm not trying to blow it out of the water because he was also you know he was a social person he was a well articulated person he was in some ways he was accomplished but he was also extremely ruled by fear and that is very fitting for a writer that tends his career his life trying to delve into the nature of fear which makes him in some senses a very bad person especially if you were not Anglo-Saxon like him although he did have Jewish friends he had Bohemian friends he had a wide variety of different friends but he wasn't what we today would call a nice person because of his views which were even for his time extremely racist unusually racist even for his time but it does make sense that such a person would write great things about the nature of fear but yes it does decrease when you read the Lovecraft stories where the racism is just full on in the stories it is hard to read and you know if you don't want to read it because of that that is your choice because there are so many other great authors to read there's no single author that you have to read and even if you're interested in horror then you can completely skip Lovecraft because of his racism and still find probably do a lot of the same things as he did because it is extremely these are extremely common themes in natural themes for anyone that are coming to horror from a humanist perspective from a non-religious perspective from a scientific perspective also from the perspective of working or discovering exploring the nature of fear if you're doing those things then likelihood is that you will be exploring some of the same themes and going over some of the same ideas that Lovecraft did but in your own way and that way may not be as fucking racist as this was and also it is completely okay to be inspired by Lovecraft if you manage to find a way to deal with the problematic sides and not to make this excuse for why you should like Lovecraft but you know my favourite metal band named after a Lovecraft story is Living Colour because Vernon Reed the guitarist of Living Colour is a huge Lovecraft fan and thought and as a black man thought that it was a very ironic thing that a person so racist as Lovecraft would write a story where an unknown colour was the monster and that's why he named his band Living Colour that's why colour is written O and U just as Lovecraft would write it. That's one of my favourite Lovecraft trivia because that is funny and I do very much enjoy Living Colour's music and you do find in a couple of Vernon Reed's lyrics even though he never does horror or stuff like that he deals with themes of being an outsider in a way that is very much inspired by some of the things Lovecraft did. He just writes a bit better riffs than Lovecraft Lovecraft was notoriously unmusical. He once said something to the effect that I didn't really like music but you know once in a while it would be a good marching band playing like Vienna Waltz or something like that so that's not really a musical mind which is interesting because you could argue that a story there's another story which is a great story for a beginner Lovecraft fan the music of Ericsson, Ericsson that is a fantastically moody nightmare piece and one of the best written early stories definitely. And that is about music and it is in some ways sort of foreshadowing the advent of noise music and you know his Lovecraft descriptions of Acetoth with the piping of cosmic flutes and the thumping rhythm that is very reminiscent of music that didn't exist in Lovecraft's times. And I find that very interesting. Say with one of his one of my favourite stories but also a very problematic and racist story is he which is a homerotic sort of walk through New York through the old streets of New York where the character is led by this unnamed or unamable or weird attraction to this stranger he meets that leads him through impossibly old streets of New York. And then in the end shows the narrator some sort of portal to another time where in each flash of lightning the narrator gets to see first a distant past with unspeakable rituals from the natives of the land and then the coming of the Europeans and the slaughter of the indigenous people and then the final horror of that story is a vision of the future in which New York has become a skyscraper infested city and every person is yellow so this is the racist part of it and dancing to this cosmic horrible thumping cthulhuish music so it is very interesting in weird and problematic ways very problematic ways to be frank if you tried to not read any classic literature because of an author's problematic ideas we'd have none now there are some loads of authors that are less problematic to read and also there's tons of writers from from other cultures that we can read and there's tons of modern writing that is really good there's no lack of things to read but what we're talking about here is if you're reading Lovecraft you have to be aware that he is very directly without you know it's not in between the lines it's not insinuated he is dehumanizing a lot of people and that is hard to read especially if you're one of those people dehumanized by the writing and it's recent enough that it is you can't just say that he was a product of his time because most people of his time and this was a very racist time but most people of his time didn't care as much as he did but it is also interesting it is sort of natural that a person who writes about fear should be so ruled by fear and it is interesting to see what he does with it and what he can tell us about the nature of fear so now we are going to do a portal here maybe I can I think I will do it like this in order to actually manage to do this image finished I will go to Kirby dots Kirby dots are amazing I love Kirby dots everybody should work should Kirby Jack Kirby was a very weird and genius artist looks nice thank you some lines around like this some spaces where we don't need to put the Kirby dots we don't need to put the Kirby dots are you self-taught or did you study somewhere else I am mostly self-taught we have been through this a few times but yeah I don't have any proper education I am a high school drop out and I have always just been drawing and drawing and drawing that's if I had been able to go to school and had not been as traumatized by the school system as I was that would have been easier and I would probably learn more and done things quicker learn things quicker but I had to learn on my own because school was not for this kid not Kirby dots Kirby dots Jack Kirby Jack Kirby was the artist who created Marvel Steve Ditko did create things like Spider-Man and Doctor Strange there was a few other characters who created a few other artists who created a bit of Marvel but Jack Kirby was the one who created most of it Stanley was the one who took credit for it what you think you missed in your education from missing school I mean there's a lot of I don't really think I missed anything in my education that's not really what I'm saying what I'm more saying is that it would have been a if I could have spent like three years of high school and then five years of art Academy focusing on the art and getting to do life drawings and learning techniques and stuff like that would probably have been an easier path than what I did which was drawing continuously but also being a raging partier and and you know wallowing in my depressions and and also trying so much to learn how to make it as an artist and how to do all the techniques and how to do so it would have been an easier path but I don't know why I'm saying this because I'm guessing my point is mostly that if you can do school that probably you should how was it for you socially I mean school is where you get your first friends and learn connections so I was never the unpopular one in school I was more of a class clown so I did have friends I did fight a lot I was social I didn't really notice how much energy being social took out of me until after I quit school but just to give you a image or a sort of quick overview I had a lot of friends through elementary school and junior high school and I have stayed in touch with none of them not a single one because at the end of school I was so tired of the mold and of school and it wasn't their fault but it was school was traumatic and even now I notice the trauma I'm still affected by that trauma and I didn't start calling it trauma myself because I didn't experience things that I would think about as traumatic but the continued as a therapist explained to me one of the few good therapists I've ever had when you're continuously subjected to a hostile environment to your very being and school was hostile towards my being to my way of being me to how I presented to how I acted to how I to every inch of my every tiny inch of my being it was hostile to and being subjected to that for years is traumatic even though I had very few directly traumatic experiences and do you find it important to look at artists work when starting out yes of course you copy everyone copy copy copy copy everyone I still do that you know if I see an artist I like that I really get a kick out of if I have time and energy I will sit down and do a lot of exercises in figuring out how to copy them how to try to figure out how they do it how so if you're looking at an ink drawing figure out how they do their pencils if you're doing a painting figuring out how they do their layers and do they do it in how many sittings and figuring out how to do it and also to take the other approach to to figure out how to do it in your own style in your own approach and to take the characteristics of another artist and do it in your style in your own approach and all of those artists that you copy and that you play around with they become part of your style they leave little traces behind you can see a lot of Miller Frank Miller in my work you can see Jack Kirby you can see John Bushema you can see Hiraoka Samura you can see Guseki Kojima you can see Georgii Shinkawa Möbius you can see Sergio Aragonis you can see Don Martin you can see Christopher Nielsen Stefan Kvarenland you can see Kittelsen Erich Wadensson you can see so many Van Gogh you can see it's all there and it's all artists who I have at some point copied in order to try to figure out how they do their shit now I'm doing Kirby dots and this drawing doesn't look like Kirby it doesn't look like Kirby at all hopefully it looks like mine I can see some Glenbar in it I can see some Keith in it I can see some even some Kittelsen in it I can see a lot of me in it but there's always also these Kirby dots which are ripped from Kirby and from all the artists who ripped off Kirby and that's a concrete thing it is what it is as they say I took it from Kirby and I'm making it my own so that's what you gotta do copy copy copy copy and of course try to develop your own style but a lot of developing your own style is done through copying and you copy but you find your own mistakes and some of those mistakes you start treasuring and you start developing into your own language which is you know it is the sum of all the artists you copied and that essential thing that is you that attracted you to all those different artists your peculiar tastes shine through in all the art you copy and we talked a bit about Kim Yong Gi because he sadly passed away and how this piece was sort of my attempt on at least starting with a more Kim Yong Gi approach to my art and I've done a little bit of copying of Kim Yong Gi because I was very I found his stuff very inspirational once I discovered him a few years ago but I haven't really sat down and done the proper copying but I think that is definitely something I should do I should do soon because his art was awesome and I can learn more from him still so yeah I'm definitely going to sit down watch a few of the videos of him drawing magnificent stuff and then copy copy copy and try to learn as much as I can from him and so it's not just it's not just that it's not just something that you do when you're starting out and you're figuring your way as an artist it's also something you continue doing throughout your career through your life if you want to improve you copy copy copy copy and of course study and make things your own that goes without saying but copying is a vital part of that always I think we have to stop here I think this is actually good enough to be to call finished and then I will make another version of it which probably digitally inked and with maybe a photograph of our world in the portal and you know I this isn't a Kim Yong-gi style work but trying to at least begin by channeling a little bit of Kim Yong-gi definitely helped push this piece to become something different than a lot of what I've done lately and I think it came out really well I think it was a success oh and it was hard as fuck I think I've managed without swearing a single time but now we had to do it let's go here sorry let's give the people on tiktok a little closer look oh and the people on YouTube can see the tiktok okay now these pieces will be released for free use they will be uploaded to my gallery theongihadhorn.smugmug.com you can find the link in the bio or in the description on YouTube and please also head over to YouTube and subscribe there I definitely need more subscribers on YouTube I will not be abandoning tiktok I have 1.3 million followers there but I need to go over to a platform that is more stable and that allows for longer form content and it's more manageable and YouTube seems like the best alternative for that at the moment so that's where I'll be putting a lot of focus these coming months so go over to one of my longer form content and if you are on YouTube or tiktok and like my art and like the idea of art for free use if you want to support that then please head over to patreon.com.com you can find the link in the bio and support with one dollar a month one dollar a month is all that I ask for if enough of you do that then that will change my life it is already changing my life so thank you for that if you can't afford to support with one dollar a month then that's completely understandable you can also afford you can also support by we have to sign this I forgot to sign this and after we sign this we also have to add a few more dots because I never finished when I'm signing I always see something that needs a little bit more work always if you can't afford to support on patreon with one dollar a month then you can support by going to my gallery and downloading my art it's all available for free use under a creative commons attribution license which means you can download it you can copy it you can share it you can change it you can modify it you can make it your own you can tattoo it as hundreds of people have done already there are a handful of people who have opened their own web stores trying to sell my art and I appreciate that so much and I hope that more people will do that in the future as well I will be doing a video or video series about how to actually approach making money off my art because I see a lot of people just slapping my art on a t-shirt and hoping that will sell but it's not quite that easy you have to make it your own in some way in order to sell you have to make a good looking t-shirt a good looking product a special product that makes you feel like I want to buy this and not like this is just slapped on a random t-shirt so it takes a little bit more of design work a little bit more of thinking but I appreciate it so much that was a long little train of thought while I was really trying to end this live because I have to catch a bus Wooo! Kim remember to tell them to subscribe for a chance to get a postcard yes I've forgotten to talk about that as well so many things to forget but until October I will be drawing postcards like these every day of October I'm drawing a postcard and I'm writing on the back of it if you go to my Beacons page, link in bio you can subscribe to my newsletter and in a few days I will be sending out my very first newsletter with information on how to win one of these there's a bit of technical difficulties trying to make it work but I will make it work bear with me bear with me I think that is all for now we made the Farah Bahad so which is a secular it is a Soroastrian symbol, it is a historical symbol and it's also a secular symbol for Iran these days so if you see people sharing news about what's happening in Iran then do remember to share and amplify Iranian voices it's extremely important to get people to know what and care about what's happening in Iran today so we drew the Farah Bahad and we drew the Star Spawn of Cthulhu opening a gate to our dimension and impending doom coming our way and that was all we got for today thank you so much for watching and see you next week, bye bye


I want Kenny movie, me and Kenny's movie to come out. It's gonna be better than Ike and Tina Turner's. Most definitely. Wow. So you think it's gonna be better? It's gonna be way better than Ike and Tina Turner. That's big, man. Yeah, we on boss talk one on one, one on one. Yeah, we gonna talk. Yeah, it's hard, man. I wrote him a poem and he loved it, he laughed because that's one thing Kenny really loved about me because I had an opinion and I kept him laughing and I was funny and effervescent all the time. Like, and he said it. I'm one of his favorite hoes. And I'm very privileged to even have paid his pimping. You know what I mean? You guys might not understand that as being squares but it was a privilege to pay Kenny Red's pimping one time, man. Hey. To all the 16s and the 304s out there, y'all feel me though, you know? Yeah, so when you think about Kenny Red, like, you know, what do you think that he would want for you like right now? He would want for me to be walking in a fashion week. He would want me to be acting. He would want me to be on big platforms like this one. Doing my thing, you know, the marathon still continues. He would want me to be a consultant director for the movie so we can get him right. Like if you ain't playing Kenny Red right or playing me right, then wait, I need to be there. Like, no, bitch, ain't how you say it. Say it like this or this is how you say it. But yeah, I want Kenny movie, me and Kenny's movie to come out. It's gonna be better than Ike and Tina Turner's. Most definitely. Wow. So you think it's gonna be better? It's gonna be way better than Ike and Tina Turner. That's big, man. Let me tell you something. Who would play Kenny Red? If you had somebody to play Kenny Red, who you think could play him? In-act. Mike Epps. Mike Epps. Mike Epps. Mike Epps. That's Kenny Fred. He just like Kenny. Wow. And you know who I want to play me? Who? Stunner Girl because she was like real hyphy. Yeah, yeah, yeah. When I was younger and I was on that concrete. Yeah. I was getting money.    Stunner girl remind me so much of me when I was younger when I was in my 20s, and then when I got in my 30s and got refined Sweetie reminds me of me. Oh now that I'm older Tina Lawson Ah, I can get them three to play a movie with you could go all the way to the top Manifesting a young Martina could be stunner girl though When Martina left Kenny and mad um that could be sweetie and then Martina now Tina Lawson see that would be a challenge For Tina Lawson, you know, she got her husband. Yeah active.


So I'm going to talk about why do you want creating a safe access into your app when you are a SaaS provider and how you can do it with a Chicago port. So I'm Tomas and I'm working for the 2D POPNLM project, which is basically an application to help you build software and manage your project, project management stuff. It's an open source software and I'm also, I'm also like, I like Alpaca, but I think it's mostly available for today. So a bit of context. We are a SaaS provider, we are providing Tulip as a service for easy use for all our customers and we are also the main contributor of the product. So we have ways to build stuff for the product easily for just this usage. It's a web-based application. So we got REST API in PHP and we proposed something with its single tenant SaaS. So each customer got its own application and can do almost everything with it and we do not have interaction between clients. So each instance is really independent and we also provide support. So we get emails sometimes that just tell us that thing does not work and we need to fix it but we don't have any more details. So sometimes we we need to access the customer instance to see by no sell what's going on and to help the customer fix the issue. So creating an access in your customer instance is a bit hard because you need to really do as much as possible to protect it. You do not want to leak information, to leak potential access to other people because all your customer data are really, you are putting to your customer data. So you do not want to maintain unnecessary or permanent access into the application. When you don't need it, you don't need to have access to the customer instance. You want to restrict as much as possible when your team is capable to access the customer instance and of course something sometimes goes bad and you need a solution to you need to have a content agency plans to be sure you can do as much as possible to protect your customer data. So basically you want to know who accesses your customer data, your customer instance, when and how it's it. You need also to keep seeing really usable because when you do security sometimes you really do, you really do things that really great on paper but when you use it every day it's really hard to do, to use it so people are getting a bit angry with it and you need to find a way to ease the process. So basically we have no source product. We are relying on Ashikov Vault to do all the secret management. So Ashikov Vault is a really nice thing that allows you to generate and store secrets and comes with a lot of things like audit capabilities. Every operation you do on Vault is logged and you have the possibilities to do really strict access control. It's integrated really easily with all your infrastructure. So basically if you are an LDAP server, you can authenticate your user, your team member with your LDAP server or you can use GitHub or I don't know, there is a lot of things. You can also authenticate things like a pod in Kubernetes so you can identify people or things in more general matter. The audit capabilities of Vault is really nice because every action is really logged and you can choose where the information goes so you can just store it in a basic file or you can push into syslog or whatever circuit you have so you can, for example, push directly into LogStatch to be able to do some verification and some analysis on what's going on. And from the secret part Ashikov Vault has already a lot of things that are already built in. And it has nice, for some backends, nice things that Ashikov Vault will create for you, also create the user into, for example, your database. So when you need to access the database, you don't need really to have a credential or code it into your application but you can ask Vault to create a specific user for a certain time and just retrieve it directly so you don't store any more the credential of the application to access your database and you can just request it when you need it. It's really nice because even if the credential is like, you can still revoke it and the application will get another credential to use. So that's really nice and that's basically what we want to do in our application. But in fact, we are not in the real team circuit because we have a specific application so Ashikov Vault let you build your own, your own plugin in your own circuit backends to do that. Vault has a support for plugins and basically you just need basic knowledge of Go to do it. The last version of Vault even exposes a GIPC interface so you can probably use it with your favorite language as well. So it's only used to create your specific, your specific backend to your application. So in our case, you just want to create new user into your application for a quick time and even when you do that, you just, you also get all the nice vault feature with so you still have the audit capabilities, the control access and whatever vault come with. The only thing you need to do with the Vault plugin, you also need a bit of support in your own application. So if your software does not, does not waste to create an on-demand user, you will just need to extend that to be able to do it. And you will also need a way to authenticate requests coming from Vault. So basically for your case, to authenticate requests coming from Vault, we have a choice to rely on public key cryptography. So basically we create, we generate the private key directly into Vault. So the private key cannot be extracted from Vault. It's directly used from Vault and only Vault knows the private key. And on all instances of no customer, we just deploy the public key part. Then when we communicate with Vault, we want to communicate with our application to push a new user. We just, it just signs the request and the request can be verified from the application. This is something that is really quite easy to do now with Lab Sodom library, which is a modern cryptography, which provides you a way to deal with high-level cryptography permative. So you can just sign or encrypt data. Really, it's really hard to get wrong with LibSodium. There is bindings in almost every language. Go as it. So it's nice for the world plugin. And in your case, PHP has it in the standard libraries in the last version. And there is support in the old version with either an extension or a polish file, polish field to do it. So we almost have all new, all new, all new. We have all the things we need to build it. So how does it work in practice? Basically, when a team member wants to access a customer instance to do, for example, super stuff, you just need to authenticate against Vault, so potentially Vault will use this authentication backend to do it against your LDAP server. You will get a notification token and from that you will be able to request an account from Vault. So we will just call Vault with the token and the free condition domain name of the platform we want to access. Vault will then just request the creation of the account on your application. And so we will pass the user name, the password and an expiration date. So even if the communication is broken between Vault and the instances, the account has not been defined. It has a limited lifetime. And it will of course sign the wall request so your app will be able to verify if the request is already coming from Vault and accept or not the account creation. Once it's done, Vault will retrieve and will give you the user name and password and your team member will be able to authenticate against your customer instance. So this is quite nice because now we have a way to access to customer instances on-demand. You don't have permanent access to it but you can request it and you can also revoke if I don't know if you leak user name and password that has been generated or if your team member leak it's token or I don't know. The team member is completely compromised. You can just revoke all the existing accounts as it asks for the different customer instances immediately. So it's quite nice. It's quite centralized. And if things really, really go wrong, you can still revoke all the instances you have given to your user and just seal the Vault. It's a secure Vault so basically Vault will shut down and will stop any operation it's doing. So it will give you sometimes to audit the logs and to just see how much the merge is that has been with Intrusion. So basically a secure Vault is really nice because you can integrate it with existing infrastructure really easily and it gives you highly flexible secrets management so you can either use what's built-in but you can also use what you need. And there is all the audit capabilities and control access that are already built-in and really easy to use. The downside of this approach is basically you have one more sensitive endpoint to your software. You have all the verification of the request. If you do something wrong here potentially the whole thing is completely broken and so you need to really be careful when you do use implementation. However it's still better than just an accurate account into your customer instances so that bad but still better. In terms of usability, it's only a CLI. We only use the whole CLI to request the account so depending on how your team member is liking or not the CLI it can be a bit hard to use but there is still a still nice fine you can still use web interface if you have time to build it to make really thing easier for your team for your teams. That's all. Maybe I've been a bit short I don't know. You have 10 minutes for question? Yeah I have 10 minutes for question. Perfect. So the slide you've had where Vault was creating a secret on your own back end. Is that a custom secret thing you built in or is that one of the box? No no it's not out of the box. The whole thing is you Vault does not have a thing for creating it has thing to creating a PKI and just to creating certificates but it doesn't really have a thing to create the public key and just request a request to the application so it's custom built yes yes yes sorry if that sector must code no not way it's it's really easy to do with Vault basically it's just a plug a thing into you just tell Vault to the okay so I want to have a post interface so okay just push out and do it it's really easy it's it's I think it's 110 line of code or something like that so not not that much yes how we did the secret introduction into new customer okay so basically we we don't care we don't catch it's just a public key so even if the public key leaks we can okay but it's a public key so we can just even display it on the internet we don't care because with the public key you can't sign the request like if it were coming from Vault so basically even if the public key leaks we don't care hello where is the private key yes the private key is generated directly in into Vault so in Star by Vault it's generated by Vault and Star by Vault so basically the private key never never keeps our vaults and we does not even know the previous the private key yes okay if do we use Vault for anything else yes in fact we already have Vaults before doing this this we use it for all not say all all the secret management so we use it for the databases for anything that has password or so we already have we already have Vault into no infrastructure yes yes okay how would we link the account that has been created onto into with with basically the team member and to check it as a right to do it yes so basically it's we're right on Vault to do with that since Vault is the only thing that has the private key it's the only thing that can emit a request to create an account and you here you can basically adjust with the Vault control access you can just tell okay I won't tell I want I want those people to have the possibility to use this this API so only the people will be able to to call it but of course if after team members just give the username and password that has been generated to another team members you can't really can't really do something about that the only thing you can do it's to create a really short account on you on your app so basically we create our valid account so even if the username and password is given to another team member that does not have authorization the exposure time will be short yes yeah okay yeah hello is vault has support for material material encryption basically there is there is a way to use the HTCM with vault I think with the vault enterprise version we do not use it there is I don't think there is support for things like HGX or I don't know stuff like that but I don't think there is a really a lot of support basically what I should recommend when you when you use vault is to use a BME tell server and you it's the only thing that should run on it basically it's since it contains all your secrets in your infrastructure basically just isolate it as much as possible and do not run something out with it and it's basically the best way to help reducing the potential exposure and the potential issue with that yes do we use only do we use enterprise or the only the open source version we only rely on the open source version for now because we are fine with just not having support if things like okay the same banks and we know it and we will deal with it but for now we do not use the enterprise version you basically can do all the all what I've described today with with only the open source version anything else okay perfect


Hello and welcome you all to today's lecture. This is going to be our last lecture and therefore, I am going to summarize what we have done in the last 59 lectures. So, the course as we started was Essentials of Oxidation Reduction and C-C bond formation Application in Organic Synthesis. So, initially we started with the introduction to organic synthesis and then importance of selectivity and basics of oxidations and development of sulfur based oxidations we discussed. Of course, initially we saw the chromium based oxidations and then we considered the two possibilities that is the oxidation in an intermolecular fashion or an intramolecular fashion via a 5 member transition state. Then of course, we looked at conglume type of oxidation, then of course, TMSO activated oxidation like Moffett-Fitzner, Barton type of oxidations and then we also discussed the Torsal studies which allowed to establish the intramolecular mechanism based on eutering labeling. Then we of course, discuss all these oxidations which are similar in concept that is Parek-Doering, Soil and Oxidation, Cori-Chem oxidation. As we discussed that they were all conceptually similar and they had similar type of intermediates first upon reaction in DMSO followed by alcohol to form this intermediate and then of course, go to the aldehyde. So, this intermediate of course, was formed from DMSO and an electrophile or from DMS and an activator which is in the Cori-Chem oxidation. Then we looked at the Pumler intermediates from sulfur as well as selenium based reactions and they are used in organic synthesis by trapping this intermediate whether X is sulfur or selenium. So, the sulfoxide and selenoxides lead to this particular selenol or sulfur intermediates and also we saw how sulfoxides and selenoxides as I have shown here that we take this particular compound and if we have the carbon X bond here where X is sulfur or selenium then via sulfoxide it can undergo elimination or via selenoxide it can undergo elimination to form the corresponding double bond. Then of course, with selenium dioxide based oxidations we saw that allylic alcohol oxidation that means the allylic hydrogen on a substrate like this leads to the allylic alcohol formation and a ketone can lead to 1, 2 di ketone formation. Then we saw sulfoxide sulfenate rearrangement which is also known as mislow evanes rearrangement. So, a concerted process was kind of discussed with 2, 3 sigma tropic rearrangement where this allyl sulfoxide goes to allyl sulfenate followed by of course, a 3-wage of the oxygen sulfur bond by thiofile to form this allylic alcohol. The thiofiles of course, we use were this kind and of course, the intermediates of these kinds were discussed based on mechanistic aspects. Then we can solve Saigusa eto reaction which is basically an oxidation of an enol silyl ether to the corresponding enone using palladium acetate and benzoquinone as co-oxidant. Then we also saw 1, 2 ketone transposition that is if we have a ketone like this, we can put it onto this next carbon using different types of chemistry and also in the same context we did once a enone transposition that means if we have an enone of this kind we can convert to the corresponding transposed enone of this type via this tertiary allyl alcohol using what is called as Daub and Micheneau rearrangement where an oxidant reacts with this allyl alcohol which is a tertiary allyl alcohol to form this enone. And we discussed the mechanism and its application. Then we saw Desmartine pyrogenin based oxidations and also Ibx that is 2 hydroxybenzoic acid based oxidations where the reagents of this type this is Desmartine pyrogenin and this is Ibx converts alcohol to the ketone or enone. If we use 2 equivalents of the Ibx then of course we get the corresponding enone. The first equivalent converts alcohol to the corresponding ketone and the second one leads to the enone. In the case of of course Desmartine we of course convert alcohol to aldehyde. So both of them they convert alcohol to aldehyde but then here Ibx converts to the corresponding enone if we take more than one equivalent of Ibx. We saw then Prevost reaction and its woodward modification that is you start with an olefin like this under 2 different conditions under dry condition under a vacuous condition we get the trans or that is anti diol or cis diol or syn diol. We discussed the mechanism and we went through this particular type of intermediate. If water is present then this intermediate opens up to form the cis diol or a syn diol or if this nucleophile attacks onto this intermediate under non aqueous condition then of course we get the anti attack to form this trans or anti diol. We also looked at Fetizone's oxidation using silver carbonate silite for selective secondary and allylic oxidations of this kind. Then we proceeded further for ruthenium tetroxide based oxidations which can also be done using catalytic amount of ruthenium trichloride and sodium metaperiodate that lead to the cleavage of this double bond to the corresponding ketone or aldehyde and of course if we use this condition here we discussed in detail how the carboxylic acid can be formed. We also saw how ruthenium tetroxide or this particular combination allows an aromatic ring also to be cleaved to the corresponding acid. Then we modified the reagent as reported by Steve Lay to a tetra N-propyl ammonium perrothenate like this and because of the negative charge here the oxidation reactivity of the this TAP is somewhat less than that of ruthenium tetroxide and therefore oxidation of primary alcohols to aldehydes is possible without over oxidation to acid or without other oxidations such as that of a double bond. Then we talked about the thermofleming oxidation with lot of mechanistic details. We saw how thermo oxidation occurs under basic conditions or neutral conditions or acid conditions and of course it is a stereoselective oxidation. In a similar fashion the flaming based oxidation we saw with the carbon silicon bond having a aromatic part here. Then we did DMDO based oxidations where olefins can be epoxidized with dimethyl dioxidane which can be either isolated or can be reacted in-situ and then we also saw how DMDO is utilized in manganese selen based complexes of katsuki jacob scent type of oxidations. And of course from the fructose derived ketone we can make what is called as C catalyst and that leads to the epoxidation of olefins to chiral epoxides. Then we saw the utility of oxidoridines of this type and starting from an optically active starting material having an auxiliary which is chiral auxiliary we got the corresponding compound in which the hydroxy group here can be stereoselectively introduced. And of course we can also take the chiral oxaziridine and oxidize the ketones which are having a pro chiral hydrogens here to the corresponding alpha hydroxy ketones with high enantio selectivity. Then we also looked at oxidations at unfuncelized carbons that is Barton and related reactions. Starting from this nitrite ester we got the corresponding alkoxy radical here and then eventually we had this abstraction of the hydrogen here and the carbon NO bond formation and then of course such products were converted to many other products. Pseudomonas potato was used as a interesting gram negative bacteria for the conversion of aromatics to diols and this happened to be optically pure if we have other than hydrogen here like halogen, alkyl then we can get this particular cis diol as optically pure compound and then one of them we utilized it for the conversion of this diol which is not optically pure but then we could get to these optically pure glycosidase inhibitors through various transformations. And we also we saw the conversion of other substituted diols into some important intermediates. Then we looked at the reductions in organic chemistry utilizing commonly employed reagents like sodium borohydride, lithium aluminum hydride, diball H, reductions with lithium aluminum hydride, aluminum chloride and of course redol of this kind and we looked at the merits and de-remediates of these compounds or reagents for the reaction of various kinds of carbonyl compounds or esters or nitrials or triple bonds or various reductions. During the process we also introduced wine rebomides for selective reductions or selective reactions. Then we looked at how luchee reduction which is a combination of sodium borohydride, serum chloride allows reduction of enones to like alcohols or this type of selective reductions. Then we looked at lithium borohydride, zinc borohydride, super hydride, the selectrides, all these kinds of reducing agents we looked at it. Gradually we increased the steric hindrance and selectivity and then of course we also saw the selectivity aspect in terms of how lithium borohydride and housing borohydride are different from sodium borohydride or lithium aluminum hydride. Then we saw sodium cyanoborohydride, how it can allow the reduction of aldehydes or ketones under acidic conditions because sodium cyanoborohydride is stable under acidic conditions and then we saw dissolving metal reductions using this kind of monovalent metals or bivalent metals. And finally, we saw macmerie olefination where we use titanium based reagents. We saw of course in these cases whether reduction occurs or cc bond formation occurs when we take monovalent or bivalent metals and then in the case of macmerie of course coupling also occurs of this kind. Then we looked at reducing agents such as silanes of different kinds like trialkylsilanes which reduce an alcohol for example to the corresponding hydrocarbon here under acidic conditions because they protonate, generate a carbocation and then reduction leads to the hydrocarbon here. In that context we also saw the utility of this polymethyl hydroxyloxane and in that context radical reactions cc bond formation and deoxygenation of this kind which is also known as Barton deoxygenation and of course many cc bond formations were used seen using tributyltin hydride as well as this Trist trimethylsilane silane or tetra phenyl disilane. We looked at various kinds of reactions. Then we went to a symmetric synthesis of this kind where initially we discussed sharpness epoxidation where the allylic alcohols can be converted into epoxy alcohols with different kinds of enantioselective products and also we saw the utility of these epoxides that is epoxide opening in a very regioselective and stereoselective fashion including pain rearrangement. So, under a neutral condition and the basic conditions we saw different reactions. Then we looked at Katsuki Jacobson epoxidation using this kind of saline complexes. This involves basically epoxidation of unfunctionalized olefins to the corresponding epoxides. Of course, we saw how the mechanistic aspects of Jacobson and Katsuki type of proposals were implemented in these oxidations. Then we looked at asymmetric dihydroxylation that is sharpness based dihydroxylation where double bond were converted to the corresponding diols, the syn diols and during the process we saw how this kind of alkaloids were utilized and the ad mix alpha and ad mix beta how can they be in a predictable fashion utilized in organic synthesis. We also looked at the Monsanto synthesis of aldopa using asymmetric catalytic hydrogenation. What is something very important was basically initially developed by William Knowles to form aldopa which is a very important compound on an industrial scale. Of course, he used this kind of rhodium catalyst and then Noyori modified the ligand to this particular binab based ligands, chiral ligands and then made use of various kinds of binab ruthenium or binab rhodium complexes at chiral catalyst and also allowed these reactions to take place in a highly energy selective fashion. Then in this asymmetric reduction based studies we also looked at the utility of the Kori Bakshi Chibata catalyst of this type for the reduction of ketones to alcohols here like this in a highly enantiose selective and highly predictable fashion and we invoked the transition state of this kind where this ligand or this chiral catalyst allows the reducing agent that is BH3 or any diborane or any borane to attach here and then allow highly enantiose selective reduction. Then we did the C-C bond formations of various kinds starting with how the inolates allow C-C bond formation and what are the drawbacks. Then how the inamines emerged and how the use of inol silyl ethers emerged and what are the limitations and the positive aspects of these reactions. Then we proceeded via alkylation through imine chemistry which eventually led to the formation of this or introduction of this ramp and sump based auxiliaries and thus this type of imine formation which allowed the C-C bond formation to take place in an enantiose selective fashion. In the same context then Wolfgang Holder's camphor sultans were introduced to allow Diels-Alder and Michael reaction to take place using this type of camphor sultans. Then of course we did the C-C bond formation via boron and silicon inolates David Evans introduced oxazolidinones of this kind and then we could do this carbon carbon bond formation like what I have shown here using different types of bases like this Na HMDS or LDA and of course in this context we also discuss various kinds of boron and silicon inolates. Then we looked at Ireland Claisen arrangement where we looked at and discussed the importance of geometry of inolates. First the formation of the inolates itself was very important and how does the presence or absence of HMPA in THF lead to one inolate and over the other inolate. Now in that context we looked at Claisen rearrangement basically and then various modifications Johnson Claisen rearrangement, Eschen-Moser Claisen rearrangement, Bellos Claisen rearrangement, Chenmapp rearrangement like this various aspects of Claisen rearrangement including Azza Claisen rearrangement, Thaya Claisen rearrangement. Then finally we saw Bamford Stevens reactions and Shapiro reactions which also allow C-C bond formation to take place which proceed through an intermediate of Tossil Hydrozone of this kind which allow the formation of E or Z olefins depending on the solvent and also we saw that how Shapiro modifications of this reaction using two equivalents of butylethium and an electrophile allow vinyl anion to form onto the same carbon where Tossil Hydrozone was formed and this vinyl anion then leads to the introduction of an electrophile. For example, when we have a DMF as an electrophile we got the corresponding aldehyde. So, we can convert this Tossil Hydrozone to this vinyl aldehyde. Then in the domain of allyl additions to carbonyl compounds to allow C-C bond formations what we looked at was reactions of allyl stananes, allyl boranes, allyl boronates and allyl indiums to various kinds of carbonyl compounds. Initially we saw that say in the case of stanane additions we saw that if we take either a Z oriented Crotyl stanane or E oriented Crotyl stanane and add on to an aldehyde under heating conditions then we get syn product from Z oriented Crotyl stanane and anti product form E oriented Crotyl stanane. In the case of allyl indium chemistry we saw that we can carry out the reaction in situ upon reaction of indium metal with halides say allyl halides for example and it leads to the formation of this particular indium species which then reacts with the aldehydes or ketones in situ and leads to the formation of C-C bonds. So, this is how we looked at various kinds of allyl moiety additions to carbonyl compounds. Then we looked at the chemistry of silicon based reactions where allyl and vinyl silanes were used and we very categorically looked at the importance of stabilizing beta carbocation and then application in organic synthesis. We also looked at not exactly C-C bond formation but a very important reaction which is called Peterson olefination reaction under basic condition it leads to syn elimination to form this product and under acidic condition or under Lewis acidic condition via anti elimination to form this particular kind of product. In the end we looked at Siemens Smith reaction to form a cyclopropane ring which is a C-C bond formation using this type of protocol where you used a diadomethane zinc copper couple in ether and this gives the corresponding cyclopropane where the geometry of the cyclopropane was similar to the geometry of the hydroxy group and we also saw the mechanistic aspects of it. Likewise when we had this homoilyl alcohol also we got the corresponding cyclopropane having the similar type of geometry as a carbon hydroxy bond. Utility of this kind of cyclopropane reactions with Siemens Smith type of reaction was also utilized to prepare molecules like this which is a natural product. And then of course we applied this for the synthesis of a pheromone which is called as grandisol using the cyclopropane based chemistry. So, in short in this course we covered various aspects of essentials of oxidation reduction and C-C bond formation and their application in organic synthesis. I am hopeful that it will help you all who are studying MSC courses and wish to appear for GATE, NET and GR examination. So, we will stop it here and I wish you all the best for the examination pertaining to this particular course and also in the future other examinations and also for your future as a researcher in chemistry. Thank you and bye.


Today, we'd like to talk to you about Cecily Procure Anglisher without buying maps in the traditional model. This is joint work with Keisuke Tanaka and Ryo Nishimaki. First, we show our presentation. First, we introduce Procure Anglisher and its definition. Second, we show receipt of the function and we will pick up the water's encryption scheme. Based on this scheme, we propose our scheme. Second, we show our main idea and propose scheme. First, we introduce Procure Anglisher. We consider the setting or male fighting setting. The setting is a public anglisher setting that is as and both have own public and secret keys respectively. In this setting, as gets the sacrifice from somebody. And as thinks that, as modifies this male to both, as modifies the function or male fighting. As simple as that. First, as decrypt this separate text into a message. Second, as encrypt this message into a separate text. And as send this message, this separate text into both. Or as want to do has been finished. However, we consider that. As thinks more, as have more demand. For example, as thinks that, the encryption is very heavy only for male fighting. And we think that, as also consider that. As want to propose the third party to re-angle this separate text. If as the result is very small, that is a mobile or mathematical, this is natural demand. In this case, because the Procure Anglisher and Procure Anglisher solve this program. In the Procure Anglisher, there is a semi-trusted party Procure. Procure has a re-anglisher key. The Procure gets a separate text from I. And the Procure Anglisher just separate text into this. And Procure send this separate text to both. Actually, this is both separate text. If there is just Procure, the program or male fighting is solved. We show an example of male fighting for Procure Encryption. However, there is other application of Procure Encryption. There are many list management, file management, district management, and so on. Next, we review the security notion of Procure Encryption. The PRCPS security and PRCPS security are extensions of INDCPA and INDCPA security. Respectively, they keep a message secure for even the Procure. That is, Procure can re-anglish this separate text into this separate text. However, Procure can't understand the message from this transformation. Next, we classify Procure Encryption into two types. One is a unidirectional type, and the other is a bi-directional type. In the unidirectional type, Wan-ki performs one-way transformation. That is, Procure will anchor this separate text into this separate text. However, Procure cannot enter this separate text into this separate text. In the unidirectional type, Wan-ki performs iso-side part text into both separate text, but can't do both separate text into other separate text. On the other hand, bi-directional type, Wan-ki performs two-way transformation. That is, if Wan-ki re-anglishes iso-side part text into both separate text, it can do both separate text into other separate text. It can do iso-side part text into both separate text. From simple observation, Wan-ki constructs bi-directional type from unidirectional type. We use two unidirectional type keys as one bi-directional type key. However, we do not know the opposite transformation. Next, we show a simple Procure Encryption. This is a simple Procure Encryption. I and Bob have own public and secret keys, respectively. Procure has a re-encryption key, y minus x. This is R2-side part text. Procure re-encrypt this side part text into this and into this. Both can decrypt this side part text into a message. Of course, this Procure Encryption is bi-directional type. Procure can re-encrypt both side part text into iso-side part text. Next, really the previous work or Procure Encryption. This is the main previous work or Procure Encryption. The first one shows both sides and yes. The next one shows security notions. The next one shows directions. The next one shows assumptions. The next one shows powering. The next one shows random output. No means not to use it. Yes means using it. For this previous work, we consider that we find a fact that is powering or random output are necessary in order to construct a PROCure Encryption. We explain it. The first two schemes grant only CPS security. The next two schemes require powering. The next two schemes require random output. Therefore, every previous PROCure Encryption require powering or random output. Therefore, we consider that. Can we construct PROCure Encryption without barring maps in the standard model? We construct it. This is our scheme. Our scheme is the security notion. Security is the PROCure Encryption and direction is the direction. And assumption is based on the DDH assumption and no powering and no random output. This is our scheme. Next, we will use the top of the function and packet orders encryption scheme. Based on this scheme, we propose our scheme. The receipt of the function is proposed by packet and orders. The receipt of the function is one of the specialized top of the function. One of the construction is based on the algorithm encryption. And they construct other primitives all but top of the function, which is like receipt of the function. And they prove these two primitives are equivalent. And they construct and this is a public encryption system from these two primitives. Next, we explain receipt of the function. This figure is receipt of the function's figure. That function is an injection function and the left function is receipt function. Oh, sorry. Left function is injection function and right function is receipt function. Left function preserves information of inverse. Left function can compute inverse. And right function... Oh, sorry. Left, left. Left function is receipt function. Left function. Left function lost the information of inverse. The receipt top of the function says that if given a function, the decision can decide whether this function is rushy or injective. The decision can decide rushy or injective. This is receipt of the function. packet and orders construct this primitive and construct the INGCC public encryption system from this primitive. Really, this system. This is packet order encryption scheme. Based on this system, we explain it. A public key consists of receipt of the function, all that type of function and hash function. This hash function is not cryptographic hash. This hash function requires no function. A secret key is f inverse. And injection process is as follows. It shows a randomness x and generate one-time signature key, VK and SK schema. This one-time signature key and this one-time signature scheme is made from one-time function. Therefore, we can construct one-time signature from rushy to the function. And it generates a member of the psychotext, the C1, C2, C3. C1 is f of x and C2 is Z of VK and Z of VK and x. C3 is x of n and hx. And it sign this member of the psychotext, C1, C2, C3, the signature, sigma. And a psychotext consists of C1, C2, C3. For this scheme, we consider that can we use this scheme for proxy encryption? Next, we show our result and propose scheme. This is PICAT watered encryption scheme. I recall forever I said I use this scheme for proxy encryption. However, this scheme has one difficult point for proxy encryption. This scheme has one difficult point for proxy encryption. That is this signature. We show this reason. We must transform C1, C2, C3 for proxy encryption. Therefore, this is the main part of psychotext. However, the very casual algorithm of signature rejects the modified C1, C2, or C3. Therefore, we must transform C1, C2, C3. However, the signature scheme does not permit it. Therefore, we consider that we do not sign C1 and this scheme granted INCC security. We show this reason. First, the signature of C1, C2, C3 the signature of C1, C2, C3 means the signature of X and M because F is injective function, sorry, F is injective function. Therefore, the signature of C1 means the signature of X. The signature of C1 means the signature of X. Similarly, the signature of C2 implies the signature of X because of the injectivity of ZOVK. ZOVK is injective function. Therefore, the signature of C2 implies the signature of X. Now, X is fixed from the signature of C1 and C2. X is fixed. Therefore, the signature of C3 means the signature of M. Similarly, the signature of C2 sorry, therefore the signature of C1, C2 and C3 means the signature of X and M. Similarly, the signature of C2 means the signature of X and M. Signing C2 and C3 means signing X and M because of the injectivity of the OVK and exit fixed. We found out that it is important to sign X and M for proof. Signing X and M is important for proof, not C1, C2, C3. Therefore, this game granted INDCC security because the signature of C2 and C3 means signature of X and M. And we get a free part of the signature, C1, we get a free part. And we use this C1 for proof-sharing encryption. This C1 is like Erdogan's psychotics because this F is the receipt of the function and one of the construction of the receipt of the function is based on the Erdogan encryption and a simple proxy encryption is Erdogan encryption. Therefore, we use this C1 for proxy encryption for our purpose. We modify this receipt of the function into the new primitive which is we apply the receipt of the function which is specialized receipt of the function for proxy encryption. We construct this RLTDX from the DDH assumption. Unfortunately, we cannot construct from the other assumptions such as the LW or the linear assumption. We construct this primitive from DDH assumption and we construct the bi-directional PICCA proxy encryption from this RLTDX in conclusion. We construct the bi-directional PICCA proxy encryption from the DDH assumption. This is our main result. Next, we show our proposed scan. Proposed scan image. I and Bob have our own public and secret keys and Alice's public key is the re-applicant receipt of the function and its inverse. And proxy has a re-encryption key. This re-encryption key is made from FA inverse and FB inverse. And Alice's central text is this C1, C2, C3, Sigma and VK. Sigma is the signature of C2 and C3, made from C2 and C3. And C1 is the FAX. And proxy encrypts this ciphertext into Bob's ciphertext. This is Bob's ciphertext, C1 prime, C2, C3, Sigma and VK. C1 prime is FB of X. This is Bob's ciphertext, Bob's public key. FB is Bob's public key. And the signature of Sigma is the signature of C2 and C3. Therefore, we can verify this signature. We can accept this signature. And Bob can decrypt this ciphertext. And we state again the advantage of asking. We construct bi-electional PIECCA proxy encryption, without firing a match in the standard model. No powering and no random output. This is the advantage of asking. Thank you.


Hi everyone, in this video I will show you how to download and install Node.js. You can install Node.js on Windows or Mac machine. First what we gonna do is to go to the website Node.js.org. The website will automatically detect that I am on the Windows machine and site will present me options for downloads for Windows. You can download any of these two versions. Both are fine. I will install version 6.9.1 which is recommended for most users. I will click and save. After my download has been saved, I will start Windows installer. Click next. I accept the terms in the license agreement. Next it asks me where to install Node.js. Program files folder are fine. We have here some other options but I will go with default options. Click install and that's it. Node has been successfully installed on my machine. Thanks for watching. Please like, share and subscribe.