Is this song? It's on. Okay. Michael, I think we're ready to get started. Yeah. Hi everyone. I'm actually really afraid of public speaking, but then I just saw so many people that I really love. And then I got, it's gonna be okay. No, good. It's gonna be good. So Andrew and Maddie, who curated Prelude this year, invited me to talk a little bit about my work to contextualize the bumps which you guys are gonna see tonight, which is such an honor and such a cool way to share performance work. So I'm gonna attempt to do that for like 10 minutes, and then you guys get to see the piece. So I was thinking about how I think about theater, and I think a good way to summarize it, is I was thinking about the Marina Bromovich idea that in theater, the blood is ketchup, and in performance, the blood is real. Right? That's her line. And I guess I'm interested in a kind of third option, where you're thinking about the person who's covered in ketchup on stage, and you're wondering like, is their skin really sticky, and who that person is, and who the person is who's gonna wash their pants at the end of the night, and how this elaborate structure, this like absurd structure that we create to create fiction, so often replicates structures in the world, which are equally fictional in a way. So that's a kind of overview to my work. This, let's see. This is a photo from my newest performance, which is a collaboration with visual artist Emily Mast, and it's called The Seed Eaters, and it premiered two weeks ago in Austria at the Styrisher Herps Festival, and basically what it is, it's this installation of theatrical sets that Emily built, and it's accompanied by scripts that I wrote, and each set can be activated by people, and by three people, any three people, especially not actors, and people who haven't rehearsed, and so the way that they choose to activate these stations really reveals something about them. So this is a scene called Orgasm, where someone picks a tablet off the wall and performs a monologue about being an orgasm. So you can just imagine like 50 different kinds of people doing this. This is Eva. I love this one, this one. Oh, so each station is about the idea of an end. That's kind of what holds the piece together, and as a whole it's a project that challenges the idea of order and hierarchy, so each station is about the end. It's about dramatically unfurling a toilet paper roll, the end of a toilet paper roll. And I love this photo because this woman who performed this station is a retired ballet teacher, and I think this to me is like my work in a nutshell. It's creating a frame through which you see someone for who they are in a way that hopefully is beautiful and where you maybe don't even notice that happening, but I'm telling you about it now because this is called a studio visit, so you're in my studio. Yes, Monica. Yes, so I'm really happy to see some participants from this project here tonight. Beth Griffith and Sandra Kingsbury are here. This is a project called A Quarter Century, which involves people over 65 and people under 25 swapping language.  And what happens, and actually I think the future of this project is going to involve people in their 20s performing language from people of an older generation more, and so what happens because I've discovered from working on this project how radical people over 60 really are in ways that are often more radical than I think people of my age. So what happens if you hear someone like me speaking the political language of someone in their 70s and it's actually more impressive or more extreme, and what does that do? And I'm really interested in work that kind of disorients you to the point where you just start to see someone. I was trying to think of a good analogy for this and my roommate and one of my oldest friends who's here who's a neuroscientist might know this, but I was thinking about those beakers that you spin around and then you come up with an essence or something. What are those devices called? A centrifuge. I feel like performance is a kind of emotional centrifuge. That's what I'm trying to do. So I'm not at the bumps yet. I knew there was more before this, but we can look at this image. So yeah, so how to do this in a way that, how to disorient you, how to open you in a way that doesn't feel like I'm telling you what to think, but in a way that invites you to come to your own conclusions and in a way that you can enjoy. That's I think what I'm trying to do. And in 2013, I edited this anthology, which was published by Jennifer Baumgartner upstairs of the Feminist Press, and it's an anthology of essays and art that imagines what a feminist utopia would look like. Some of you guys in this room helped me edit this project to make it what it is. And so in here there are essays that imagine what would a classroom look like in a feminist utopia? What would healthcare look like? What would art look like? And I really see my role in this as thinking about the structure, the structure exposing the structure. So for example, maybe it's better with the mic. So for example, here you see a non-hierarchical table of contents. And this connects a lot to the way that I think about performance as well. And here you see in the front a description that explains how the contributors got paid and who designed the typeface in this book. And to me this is important because we should acknowledge that there is a typeface here that's designed by Claudia Kipp called Expansion. But I'm really interested in drawing attention to this to remind us that a typeface is something that someone designed and that literally everything we touch is constructed by someone. Usually in the case of typeface is usually by an Italian man. But yeah, to remember that because then we can remember that everything is a fiction. Everything is a fabrication by a person and therefore can be reimagined. So this connects directly to the bumps which is an act of structural imagination. Yes, so I want to say that I also know that we know this intellectually but I keep coming back to performance. I alter between writing and performance because in writing I think we can know this intellectually but I think in performance it's a space to feel this and I go through the world, especially these past few weeks and I know that I've been really numbed so I really appreciate all of the work this weekend because I remember feeling. So The Bumps is a play that is made for a cast of three pregnant actors at three different stages of pregnancy. It's meant to be performed for an extended period of time so that you watch one actor over the course of their pregnancy and so that over the course of their pregnancy they would play all three parts and then graduate from the production and then a new actor would enter the process. And so in this way it creates a small ongoing economy for pregnant actors and an ongoing community. It also creates an ongoing way of inviting new people into the project so it's continually evolving. I'm continually saying goodbye to people too. That's the hardest part but it's starting to feel like a real metaphor to me about how to be in relationships with people in the sense of like I know that I can't hold on to anyone for too long in The Bumps but how do you connect with someone knowing that, right? And that to me is what any human connection is. It's always worth it to connect with someone even when you know. It's not forever necessarily. So I want to... I keep trying for my notes. Yes. Yes, I want to take a moment to just acknowledge all of the artists that have been involved in this process because Dina and I, Dina Salanao the director and co-creator of this piece and I have been working on this for two years and so many amazing artists have passed through it and so I want to just take a moment to nod to Jennifer Page, Emily Albrin and Serena Kennedy who are in our very first iteration and then so you see Jennifer Page... Okay, so actually let me back up. So Jennifer is playing the three-month character. Serena is playing the five-month character. Emily is playing the seven-month character. Emily gives birth. We love Emily still but she's not in The Bumps anymore but then I want to write a play for Emily and her newborn so that's part two. Okay, so then Jennifer is playing five months.  This was also in LA because we also see some members in the audience that have brought their little ones with them because even though we offered free childcare for the audience these women chose to come and not use that service but they felt able to come because that was a part of the PR for it. So I love this image because of that. And then we did an iteration at the Skirball Center. So this is Christina Fernandez, Jean Secchia and Diana Barone. And in this iteration our choreographer, Jenny Lu, was also pregnant totally coincidentally and our set designer had just had a baby. So we were sort of this like utopian pregnant collective. That was a really special way to work. And then this summer we had a version where we did a reading at Issue Project Room that was actually a fundraiser for Planned Parenthood which is so cool. This Broadway actress Jennifer Blood produced it and that's Taifa Harris and Jessica Luck who played one character and now she's graduated to the second role and will be joining us tonight which is so exciting. So yeah, the next image is the one that you guys are about to see live.  That's the best part of this whole show. So what do I want you to know before you see this? I want you to know that this play comes from a personal place for me in terms of what I wish that I could have seen. Experiencing pregnancy at a young age myself but it also just comes from being an American from being a person with a body and seeing how the theater so often replicates the discrimination and erasure against women, against families, against people without security. Yeah, against anyone with a body with needs pretty much. And so by reimagining the theater for a population that it excludes entirely how does that improve the theater but also how does that help us think about the theater as a metaphor for everything that can change. So with the bumps specifically those questions behind the scenes for me looked like how do you make a play where characters can... where an actor can play multiple different parts where it's not about naturalism and a perfect match. How do you make a play where it's natural for a character to sit a lot? How do you make a play where... how do you approach costumes with a constantly changing body? How can you structure a line item in the budget for childcare and stipends? How do you make a culture of the rehearsal room? This is like a big question that Dina has had to work through and I'm so impressed with her. How do you make a culture of the rehearsal room where it's always appropriate to ask for a pee break or to have snacks where that doesn't take away from something but is a part of it? And I think that's been a really important part of our process. How do you build a set while you're holding a baby? What kind of set do you have? And what about the audience? How do you care for the audience? And what if these needs, all of these needs don't feel ancillary but they feel like the starting point for the imagination. How do you see needs as a serial? Which I think we've seen a lot of this weekend and it's been pretty inspiring. So just to contextualize, tonight you're going to see just the first act of this play. There are three acts. The first act takes place in a waiting room in the 80s. The second act replays the first act but from inside the perspective of the bellies of the first act. And that one is kind of outside of space and time and that bleeds in throughout the whole play so you'll see moments of that. And then the third act takes place today, a generation later. That's it, so thank you all so much for being here for listening to me and for watching the bumps and I can't wait to talk with you guys about it after. Cool. I think they're running behind. They were looking for someone so hot. We had just said, pregnant. Oh no, the casting called specified. It specified they were looking for, you know, classically pregnant. Yeah, classically pregnant. Classically pregnant. At least that's what I think they were. Well, the guys saw me out here so they had me wasting my time. I'm seriously going to whack someone with this. Yeah. I just watched one of them travel agents in the office. Everything here looks so similar. Did you know that on a Boeing 747 you can leave after dinner and get there in time for dinner in Mexico? I wonder if he just stayed on that airplane and what if he just kept going in that direction here and had dinner, dinner, dinner. Everything else starts like a table. Oh, like it's work. Keep his blood flow to the brain. Wash and dry all in one. Just freeze, freeze. Appliances for busy ladies. I'm a busy lady. Very great. I can be here for you. Is it supposed to be a song?  And then when we were joking about it, it would be fun to work and advertise them together. Problem is, you're just going to notice your situation. The casting call just said pregnancy without any specifications actually, so maybe she's fine. She looks like a bloated person, but it's just me. That's funny because to me, it's so, it's so... I feel it so much and I have to keep reminding myself that this is a tiny fist inside me that no one else can see. Just me. Which reminds me, maybe other people are experiencing something that I can't see at all. And isn't it beautiful? I just think if they were looking for someone at that stage, they'd probably just hire a fat model. I just think they need something big, you know? Something you can't fake.  She's actually very beautiful. She's not even fat. Isn't this an exciting experience? Something we can only do at this moment. All six of us. At first, audition. Have you read about how sugar is a used smoking? People are talking about sugar now? Oh, sugar and smoking, you'll see. Well, this place had a peanut hole. That'd be great, but... Do you want this? You don't want it? The thought of eating anything is making me... Yeah. The beginning. Totally ruins food. But then it gets better. It ruins your entire future. Right, bananas. What about bananas? Really bad for boys. What did you learn about? My OB says I know more than he does. Wait, are you having a boy? Better be. Oh boy. You? We'll find out when it's time to meet you. I'm hoping so that my other one, she can have a brother. Oh, brother. Nice girl. Oh, a girl. What are you supposed to do? My husband. He's doing research. Right. Right. Are you from here? Two generations and we all love pizza. Hardly ever eat it though. You got it. How do you not? The lines. Oh, the lines. But maybe it makes it even more delicious when you're starving, you know? Yes, maybe. That's why I love it. Maybe I should wait for all of my food. No.  That's the only way. I should probably pick up a couple of t-shirts from some of the spots before you. Wow, where are you going? Florida. Well, we're talking about it at least. No more driveways to shovel. And the beach. Oh, I think the beach is here. So beautiful. The beach is here. The rocky beaches. Have you ever been to a real beach like the beaches in Florida? No, but the fishiness. Doesn't that feel like the real ocean? It's like the breath of someone in the morning. And then realizing that's them. The specific, original breath of someone I love. No. The white sands and the pools and the backyard. That's got the lights and the jets. And that couple is now free of fear. Oh. Fear. I'm going to have to stand. And the backyard. And the pool. I'm rooting for you. So you're from around here. We moved from the city. My husband's trying a new business venture. So, she's here. What is your husband? Soy. Soy. He's in the soybean business. It's apparently going to be the hot potato. In China, they already drink it for breakfast. Oh, yeah. I heard some guys at the gym talking about this. It hasn't taken off quite yet, but just a matter of time. And then we'll move. Or maybe I'll become infomercial mom and we can move back tomorrow. Right, baby? Oh, let's be good, baby.  A little starlet. Very good. Anyone deals with parking in the city? Where are the people? The city in the fall. They smell of nuts. They have beautiful coats. And you'll be all the girls. And I'll take you to the ballet. Okay. I'm so sorry about the delay. We're off to the 315 slot. 315, we're ready for you now in room 34A. 3-4-A. 315, we're going to move right along toward 320 slot. If we don't see you.  She looks so great. I'm so energetic for someone that far along, you know. I should ask her. I should ask her if she has any tips. Oh, good. Can I towel that today? Can I give you my card? In case you want to do Lady Fun, do night or carpool in the future. Thank you, yes. Actually? Actually? Yes. Yes. I would love that so much. Is that a formal anything? No, wait, sorry. It's just an idea of being rooted somewhere. Finally? So much is going to change for me. Cheryl. Cheryl. And this? This is the beginning. It's a community. And our 320 slot, we are ready for you now. Fuck, Tards. They didn't even let me talk.  I was just saying how energetic you are. It's just common currency.  You wouldn't mind not using language. Okay, I'm sorry. I'm so sorry.  I can't. All in one, wash and dry. Please lower your voice. What if you don't always get what you want? It's very possible. They saw you and knew right away that you were right. You would be right for another one of their products. A loud product. Like a coffee grinder. Oh, you'd be a wonderful model. For any kind of more, or maybe even a long hour. Oh, oh, oh. It's probably going to be my turn soon. Right. We're going to be fine. They're going to love you. I don't know about that.  Did you?  Oh, okay. Everyone, it's my turn. And 325. Actually, we're going to move to 34B. We'll see you in studio B. Just give us one second. I'll be back soon. Probably not too soon, but for these people.  Here. I wish you on the bathroom feels like a hard one. Thank you. It's hard to run everything. Do you notice that? I ran out of paperwork, so they weren't very happy. Sorry. Okay, their product, their empire was built off the mess you made in there. That's true. You know what? That's true. Someone's got to wash their pants. You know why? Because of you.  Did you park them a lot? Oh, no. I'll come outside and wait for you. Some fresh air. Wonderful. Cheryl will send you. Build out the Cheryl. Well, everyone, please stand up and follow Maddie. It's not really an adventure, we're just switching rooms. But we're going to do it in an orderly fashion because, you know, we're in a theater. We'll be safe.


T F N N headline news update Welcome folks. We have the Dow industry is up 11 NASDAQ up 14 S&P is up to bottom line to get a flat market inside those indices gold gold up $2 and 50 cents trading at 14 14 an ounce We have silver up 12 cents $15 69 29 cents an ounce light sweet crude down 59 cents $59 45 cents a barrel notes and bonds That's the number still folks. You get the 10-year note trading up two ticks 125 30 year up 11 ticks 150 403 Bottom line if we get over we'll take a look at that 30 year first What you're gonna see out here is that what we did the past week and a half Is that 30 year went from a price point of the high of our 157 you get down We hit a low on Friday of 150 to 2028 and what that was doing was going right back into the breakout area from the 31st of May bottom line You get a little retracement happening And we take a look at it this as to where the run actually started the run actually started on the 18th of April It was a straight line move higher bottom line You had volume on the way up you pull back with light volume We did almost a point three eight two retracement, which is a very light retracement bottom line what I expect you're gonna see out here You're gonna see notes and bonds once again go for this high And we'll find out if we get a large ABC structure on the way up what you do have in the S&P The spy is that what we did we did in a multiple ABC structure last week. It took out a small ABC Inside the larger ABC and right now you have the spy trading the 300 0.71 and what you have out here you have two ABC structures The first one is that 303 the second one's a 305 So you're the expectation and the probability is that you will get up to those numbers somehow some way We're still in summer trading and of course you get light volume out here today You're gonna have light volume out here on Friday What we do have the banks are kicking things off out here city group bottom line came out this morning Had a low out here today of 70 a high of 71 97 and bottom line What you have out there is that a rejected lower price. It's coming into a swing area now from the 29th at 71 94 and you're coming in there with volume that things looks like it's gonna break topside the intriguing thing of course is that We still have rates that are going downtown But those banks those banks that do want higher price right now to recap We have that our industrials up eight and has like a 14 S&P's up one and a half stay right there folks come right back


I still have a friendship with two, beside my ex-spouse. I don't really have a friendship with my ex-spouse, but I have a relationship with my ex-spouse, and I still have a friendly relationship with two significant women in my life, okay? I'm very upfront with somebody about that, okay? That's transparency. Why is that important? Because I know many people have fears around that there might be still some longing for the other person, that there might be some desire from the other person that longs for them, and they have a fear around trust. They have maybe some trust issues, and I'm very transparent. I have a relationship with people, some women who I've been intimate with in my life, and I think that's material to the relationship.


Great. Just a little bit about what we're going to be covering today. A few slides on how hypothesis works. I know some of you are very familiar with it. A little bit about integrating hypothesis in your platform, what we kind of refer to as supported hypothesis, which includes the group functionality. A quick look at the E-Life integration and a walk through that our designer put together that will show you some of the options when it comes to publisher group. And then as Nate said, we should have some time for Q&A at the end. First, as many of you may already know, hypothesis is a mission driven not for profit. We are open source and we're strong believers in open standards. Some of the names that you see across the bottom of the screen are partners who have generously supported us over the years. We're in the process of a transition, a five year transition to earned income and part of that is working with publishers. We worked for a few years with the W3C to get annotation approved as a web standard, which happened almost exactly a year ago today with an extremely high number of votes. What that will mean is in future versions of web browsers, just like you tell your browser what your default search engine is today, you'll be able to tell your browser which annotation client you're using. And in future, if every annotation client works in accordance with the standard, interaction between annotation clients should be possible in the same way that we can email each other today even though we might use different email clients. We're currently at 2.7 million annotations and counting. We crossed 2.7 million this week. We need to update our graphic there a little bit. You can see here that about a quarter of the annotations have been made that are completely public. Those completely public annotations are contributed to the CrossRough Event Data Project, so they're indexed by Google and Discoverable. A high number of annotations are made as part of collaboration groups, and we're very curious to see as the new groups for publishers rolls out what percentage of annotations might be made in that sort of a forum as well. Just a quick snapshot recently of the different user sessions and where folks are coming in from around the world. Probably not surprisingly, there's a high number of English-language speaking countries represented at the top, the United States, United Kingdom, India, Australia, Canada. But you can see across the board there just with the top 30 that we've got nearly every geographical region in the planet represented and quite a number of languages. So if you go and explore the public-facing annotations and hypothesis, they're quite commonly come across annotations in Chinese, Japanese, Arabic, French, Spanish, Hebrew, and more. Just a few slides on how hypothesis works. We believe in layers of annotation, as I mentioned, built on open standards. What it means is on top of the content and annotations do live in line with the text that the annotator is referring to, you can have multiple conversations going on on that same piece of content. You could have a conversation going on in the public layer. In the private space, Mr. Johnson Science class could be working on a collaboration project together. We have a designated layer that's reserved for experts in the community. For example, the scientists that we work with at Climate Feedback, who fact-checked news articles in regards to climate change. And publishers are also looking at annotation as an additional mechanism to distribute information about content. We'll show a little bit more about that in just a few minutes. The thing that's great about hypothesis is you can annotate anywhere. You can annotate in the major digital formats, HTML, PDF, and EPUB, as well as many kinds of data. And there is equivalent across those formats. So annotations that you make on the HTML would typically appear on the PDF and vice versa. If you are a publisher that has your content on multiple platforms, let's say you work with PubMed Central, for example, or you work with aggregators like ProQuest and EBSCO, annotations made in one place on your content should be connected to annotations on content that's held elsewhere. There's a variety of different ways that we do that. Canonical URLs, looking for tags in the metadata that refer to DOIs as well as PDF fingerprints. Just a bit about integrating hypothesis. The basic implementation is free.  We've got a plugin and browser bookmarklets that cover the major browsers, and that's free, of course, to use.  It includes all the primary annotation capabilities. We have a number of plugins that I mentioned. If you want to embed hypothesis in your site, just a few of them mentioned here. There's a complete list available on our site. We've spent a lot of time the last year working with the different platform hosts mentioned here and some others that will be announced soon to enable smaller publishers who are using those platforms to get going with hypothesis. We also have a very robust API that you can get started with today. There's a number of pieces of information and things that you can do with the API. We believe very strongly that users should be able to get their annotations out and that publishers and other entities that want to make use of their annotations should be able to do so readily, whether they want to repurpose on their website, say in a widget for marketing purposes or to use for text and data mining. Nate's going to be including some links to our documentation and if you've got questions about it, we're happy to answer those today as well. What if you want something that's a little bit more custom. As we started to work with publishers a couple of years back publishers let us know that if they would enable by default annotation to be visible on their platform. It seemed that by association those annotations would be connected to their to their content. Enabling branded layer that a publisher could moderate was work that we undertook for elife. We enabled a number of customizations to allow the client to fit more readily with the publisher platform. And we've got some other things that I'll talk to you about in just a second here. When it comes to pricing, we typically use a number of documents that you want to deploy hypothesis across as a proxy for publisher size. You can deploy hypothesis as narrowly or as broadly as you like. You can put it on one journal title, for example, you could put it on even even one book, you could put it across your entire platform. The proxy size when we ask you the number of documents you add per year that does include adding hypothesis back to volume one issue one so it includes back files. It's just the mechanism that we use to proxy publisher size. We can also connect to publisher existing accounts. If that's something that you're interested in. And what we're going to be focusing on today and a little bit more detail is the technology that we call publisher groups. Again, these are branded and they can be precisely configurated to meet publisher needs. They can be restricted where public their publicly readable annotations, but the only folks who can create annotations in those layers are those invited and allowed to buy the publisher. There are also general discussion layer opportunities where annotations are publicly readable and basically anyone in the world can join and create those those annotations. When it comes to UI, we've got a number of things that you can do and some of them I'll show you on the life implementation. You can control the colors of the client and the text, the information about the borders, different typefaces so that it will fit with your content. Some default measurements for the sidebar, whether it will be open or closed, some configurability around highlights, as well as different calls to action so that you can let readers know that annotation is available on your site. We think very much a hypothesis about how annotation can be successful. So we always meet with our publishers ahead of time to talk about what types of goals publishers are trying to achieve in enabling annotation and how that success can be measured. We offer a variety of different types of training internal to the publisher aimed at end users, as well as dedicated training for folks like editorial board members who kind of sit in between. So that, you know, with internal as well as external champions, annotation will be a stronger success on your platform. These programs will working around engaging key annotators. Some things that have been tried successfully in the past by partners include putting together annotation events, annotatathons, you might say, enabling author annotations as part of regular workflow, or inviting expert commentary. We work with you to coordinate our promotion, both when you sign when the publisher groups launch. We'd love to present together with your conferences and even put together case studies and way papers on different types of uses. As an open source and nonprofit support and open source maintenance are critical to our future success. Many of our partners are in this space as well. We need to be able to provide to our partners technical support. We've got a great support engineer who recently started with us. We have an open source code base that's available for a deeper technical dive and a community that's working on annotation capabilities across the board. We're also, as I mentioned before, keenly dedicated to standards and interoperability. So we're working with a number of open tool providers and platforms to enable that. We believe strongly in annotation as a community effort in 2015 we started the annotating all knowledge coalition. It's a group that currently consists of more than 70 publishers platform hosts and technical companies, dedicated to supporting an annotation and trying out new projects together. We also host the I annotate conference, which will be coming up the first week of May this year in San Francisco, or sorry, the first week of June is usually the first week of May. And we'll be putting together a partner event, having two full days of presentations around different types of annotation, as well as a hack day. And we'll be happy to tell you to more about that. We recently posted the registration page, and we'll be doing a formal call for proposals. We'd love to have you participate. Now I'm going to stop sharing my screen here for a second and go over into. Actually, I'm right here in the tab go over and show you a little bit about the life integration. If you want to come back later and explore aspects of the life integration yourself, you can certainly do that. The links that I'm going to be going to now are available as part of the blog post that we did a few weeks ago. And if you go to this blog post on our website and scroll down, there are links to a couple of articles that elive has preceded with annotations. So you can go ahead and check out what's been done so far in the platform. Now we'll pop over, and I can tell you a little bit more about the integration that was done there. So first you may notice that the sidebar looks a little bit different in the elive integration. These are the customizations that I mentioned if I scroll up to the top. Elive wanted to streamline what's visible in the client. And this is in keeping with their minimalist approach on their new website. You can see it looks beautiful here. They also wanted to change the call to action a little bit. So you can see now that I've closed the client. It's not visible here on the left, but you can explore annotations by clicking on an annotation tab here.  Similarly, if you want to start annotating, you can actually select text and the annotation tools will appear. Elive is an example of using publisher accounts to provide annotation to readers. So that means that anyone who comes to Elive who has an Elive profile can just start annotating. They don't need to create a separate hypothesis account.  And then you'll be able to take part yourself. If I open up the annotations here, you'll see that first time annotators get a little getting started pain. So they can get going. The way that Elive has worked with some of this content is to have the authors do some annotations to kick things off. So you can take a look here and see what Xavier has provided here in regards to his article. Elive editors have also provided some brief information in the form of page notes. So page notes are annotations that are tied to the entire document rather than one piece of text within it. So check those out as well. If we scroll down a little bit, we can see that in addition to Xavier's annotations, we've got some feedback from some folks who are reading the annotation here. We've got another example that I can show you that has got a number of annotations. Whoops, my page is timed out. So let me give that a second to reload. We're really curious to see how things are going with Elive and we're right in the middle of doing an awareness campaign with them that I'm sure Nate would be happy to tell you a little bit more about. So while my page reload should be able to see here again my annotation tab. So here we have another author who's provided annotations Benjamin Engel. He's got some great links to additional resources. There's some other folks who are weighing in here about the discovery and similar to the other article, there's information provided here by Elive about the content. So just an example of what Elive is doing. I've got one more quick thing to show you before we open up to questions and to do that I just need to stop sharing for a second while I swap over to a different application. Let me be right back. Here we go. So I just wanted to show you a couple more things that are possible. So this is a walkthrough that demonstrates the group's functionality that our designer put together for us. I mentioned that I showed you that Elive has their call to action. One of them is a tab that you can click on. It's also very simple to put a button on your platform that will show the number of annotations on a given piece of content or a call to action like annotate PDF or annotate me. It's very customizable how you would like that to appear. Once a user clicks on, oops, let me go into my slide share so it's a little bit more, a little cleaner for you here. Once a user clicks on the button. Then let's hang on here. Sorry having trouble getting this to advance. Okay, maybe we're not going to do it in the slide share book. Once you click on the button, then the client will pop open from the side and you can see that this is the publisher branded layer. It's got the little bio Pope logo there and it's got a general discussion layer. This first piece of the walkthrough indicates the connection to publisher accounts. So what you can see here is that these annotations are world readable just as in the Eli example. But if you want to create annotations, you're directed to either create an account or log in. In this case, it's referencing publisher account. So if you go ahead and log in there, you'll see you got to get started getting started pain similar to what we saw on the Eli platform. So, Eli has one publisher layer that's intended for general discussion, but one of the cool things that I mentioned in the presentation is the publishers can actually have multiple layers atop their content. This is covered as part of the pricing policy that we have so you can have an unlimited number of layers for different purposes on your content. So we've got here a general discussion layer, which I'll show you next, and then a couple of layers that are restricted for specific purposes. For example, authors annotating their own work or peer review summaries or reviewer content. You could also use this if you wanted to add as a publisher information on how your content, you know, might be used new features. If you have any automated entity annotations, you know, you might make that visible in a separate layer as well. So for each one of these layers, you have the opportunity to view activity. So we can go in and see what the activity page looks like. So this is a way that an end user can see what other content on the site has been annotated. They can explore what other annotators are doing, take a look at what tags have been applied, they can see different articles that have been annotated. And this general discussion activity page can be set as narrowly or as broadly as a publisher wants. It could be deployed across one book, it could be deployed across one journal, a collection of journals with a similar subject area, or across the entirety of your site, or even if you have multiple platforms across that as well. And as I mentioned, it's a great way for folks to discover other content that is of interest to annotators on your platform. We'll be sharing this presentation with you afterwards. It's just got a couple of slides here on how you highlight and create annotations. And I want to show you a little bit about restricted layers. So for example, if a user clicks on the layer that's indicated for reviews, they get a message that the group is read only so they can see the annotations that have made here by reviewers. And there'll be an information page which explains the criteria for annotating in the group. We get a lot of questions about using regular hypothesis accounts. And so I should stress that publishers who integrate hypothesis do not have to use their own accounts. Many of our publishers do not even have account systems or profile systems of their own. So they're happy to use regular hypothesis accounts. And you can still have the publisher branded and moderated layer even if it's run in the back end with hypothesis accounts. There's just an additional step when the user wants to create annotations, they just need to create a hypothesis account first. So if you are currently annotating on Eli, for example, using their accounts, and you want to switch to your regular hypothesis account, you can just log out of Eli. But what we want to make it easier for users to do is to actually connect and bridge between the publisher account and the regular hypothesis account. So this flow is intended to demonstrate that so you could actually log into your hypothesis account and be logged into both. This is some work we're going to be completing in the next couple of months. So you can see here that now that I'm logged into both accounts, I can see the publisher authoritative layers by default at the top. But I can also see that there are annotations in the public layer, as well as a private annotation group neuro club that I'm a part of. So I can direct my annotation to whichever layer is appropriate in that case. So this has been just an example of a walkthrough of different possibilities that you can do if you're enabling publisher branded and moderated layer. That's the end of the plan presentation. And we're happy to take any questions now. Hey Heather. It's been a pretty quiet group so far. Suzanne also joined us as we were going along. You know, we have such a small group of folks to we could also turn on audio if you even want to have a voice conversation. August Suzanne get now do you have stuff that you'd like to ask about or do you like to describe how you're thinking about annotation at your institution and we could talk about how hypothesis might fit in. Okay, yet now it says yes let's see if I can allow to talk wow. Okay, yet now I'm promoting you to a panelist so you can talk. So if you have audio yet now you should be able to. Yeah, you're muted. You can just click on the little microphone and the lower left you should be able to unmute yourself. I can do that. In August we see your question and we will we will get to that too. Can you try? Yes. Thank you. So, I'm interested of course in the connection with the learning management system at our institution, which is Sakai. And we're interested in an LTI connection. I noticed you do have something going on with Canvas. I don't know if the processes are the same for the two. If not, what would it take to to affect an LTI connection for a Sakai based learning management system. You want me to take that one Heather. Go ahead. So, as you may remember, I'm an old erstwhile Sakai community member. So the good news is that we took the beta work that we did in Canvas and LTI connection there. And are now working with an outside team of developers actually to extend that LTI integration into any other standards compliance LMS which would include Sakai of course thanks to Dr. Chuck. So that there will at least be basic integration capabilities between hypothesis and an LTI compliant LMS like Sakai. That was hard to say. The first thing of course is to get the hypothesis client embedded into the LMS. And then the second is which most people have earmarked as the most important feature is so that there's single sign on and rostering capabilities that cross between the course or project sites in the LMS like Sakai and hypothesis so people don't have to make new accounts. Be happy to hear about other thoughts you have on the integration. I don't have other thoughts I was a bit surprised when you said you would need to integrate hypothesis into the LMS first the LTI connection would not be enough. In other words, would there be work has to be done on the Sakai LMS structure or is it just strictly the LTI connection that is already built into our system. It should it should all work with just an LTI connection. In fact, I've done some preliminary testing on what we have already and the LTI connection is working. There's a couple of bugs that need to be worked out. But it should the goal is definitely to make it all work with Sakai standard LTI capabilities. And that would be either at the full implementation level or at a particular course or project site level. It would be good to be able to do it at a particular course level. We work with other vendors that use LTI and the biggest weakness is that they just make the simple connection and don't really respond to our course structures. So hopefully we can create something more flexible by courses. So that's our interest. Yeah, and that's where the the single sign on and rostering integration, I think is is crucial so that one of the common practices with hypothesis in this kind of matters in the publisher use case to is that often if you have a course or any group of people like a journal club or or a group of peer reviewers or any kind of editorial function, the publishing side, they often want to annotate together in a group structure. And so we've long had what we call the private groups, which a lot of educators have made use of because the teachers and students can work together privately as Heather mentioned. And so one of the goals of the LTI integration is to make it so that the course roster in an LMS like Sakai is automatically put into a private group structure and hypothesis so they can annotate together, which doesn't mean you couldn't do public annotation to if you wanted to. But the assumption is is that most people will want to be annotating in a in a course environment in a private group structure. That makes perfect sense. Great. Well, so we should. The goal is to have that LTI integration capability ready so that it would be available even before fall 2018. And knowing how academic calendars work, we know that you really need it in the spring sometime in order to think about using it for the fall so Yes, I know you all too well. And so stay tuned. I'm sure you know our colleague Dr. Jeremy Dean. And so he is leading point obviously in all the education work. And, you know, we'll be we'll be doing updates he'll be leading some as soon as we have something juicy to show he'll of course be leading webinars and that as well. But there are people working on it as we speak. So, that's cool. I have one more quick question. Sure. You've been using it with students at this this semester. I've noticed that the interactions the replies are not listed in with the. I'm not sure what the term is that that when you click on somebody's ID you get a list of their annotations but you're only getting the top level you're not getting the interactions. I realize it's a complex thing to to solve but have you guys thought about that or done anything to be able to show the actual discussion rather than just the top level posting. Yeah, so you've you've you've recognized something that's a well known issue of course and that that area we talked about as the user profile area or sometimes they called activity pages where you can browse and search through any any kind of faceted group of annotations including those of a particular user and you're right right now replies are not returned automatically into that into that view. And so we we understand that that's a that's a drawback and it's not even as complicated as you have pointed it out. So we are, we've already done prototypes where it's included and we recognize that as a key thing that you see forward. So you should also see that in this spring time frame. I lost my ability to talk there. Excellent. Thank you. Thank you very much. Sure. Um, and so we have another question from August who had asked, have you thought about the overlap between cross mark and hypothesis for post pub updates that seems like a Heather question. Yeah, actually is it's one of the very first use cases that I thought about for hypothesis I think even before I was officially part of the company and I'm reminded of it. Whenever I see that there's a correction that elife article that I showed had the red banner across the top indicating that there that there had been a correction. I think it would be great. I've had a couple of quick calls, you know with Ed Pence at Crossref to kick things off. It's probably probably do for a check in with any time you want to add additional information doing it through the form of an annotation is one way to do it. Folks who don't know, for example, to click on a cross mark to get an update might never know that something you know has been done. Also, we're doing some work with the American Diabetes Association that they're implementing one of the restricted layers to do updates on their annual standards of care issue. And so it's critical to them that just ADA staff be able to do that. But one of the things that we've also had in discussion is using annotation cards to make updates and corrections more visible. So you could connect an article, your annotation card in line with its update or correction. And similarly, if someone comes across the DOI for the update or correction, connect that back to the original article. In some instances, it's a good way to indicate to readers who might be starting their, their research online, but who may in a hospital setting for example still be looking at a printer and at some point to let them know that something's been corrected in the online edition that they need to take care of when they look at the print. But yeah, any kind of identifier like cross mark is an excellent use case. We seem to have stunned them into silence August and Suzanne. Is there anything else that you'd like to talk about? We don't have to stay the whole time, of course. But we're happy to talk more. I can also promote you so you can use your voice if you'd prefer. Any other questions, thoughts, suggestions, ideas? Is the microphone still on for me? It is, yes. Go ahead. Any thoughts on media annotation besides text, images, video, things like that? Other kind of media? One, sorry Heather, I was just jumping on this. We definitely have earmarked image and video and audio annotation as a future thing to focus on. Right now we're still focused on making sure that text annotation is widely supported across all platforms and formats like EPUB was just added over this last fall. Our colleague John Newdell, who you may know, has been doing some really interesting work in the annotation of the textual transcripts that accompany video and actually audio as well. And I can point you to a couple of blog posts about it. He's published some of it on the hypothesis blog, but he's also done some of it on his personal blog. And so I will dig those up for you and put them in the chat. So it's not quite video annotation, but it comes pretty close because it's a way to annotate the textual transcript, which one would want to have for a variety of reasons anyway, and have it be synced to the timeline of the video audio piece. Wow. You want to add something, Heather? Nope, it's great overview. So I will dig that those up for you, and you will get a list of links in the email kind of synopsis of the webinar as well. Okay, thank you. Oh, it looks like we might have answered that. You muted yourself, Nate. Right, well, I was talking. That's a good idea. I know other people who want to have that power over me as well.  That would be awesome. Well, thank you guys so much for joining today. As Nate mentioned, the recording will be available for if you have colleagues that we're not able to join, and we'll also make the walkthrough presentation that I just show available. I also should mention, and we can include this as part of the follow up, Nate, that we've launched a little test site on our fictitious publisher here, Biopub, that just gives an initial, you know, snapshot into these open groups, which again is the world readable and world writable groups. And as as the restricted groups become go online in the next few weeks, you know, I think we'll be adding that to the test site as well. So if you want to go take a look at that, you'll be able to play around a little bit. I do encourage you to take a look at the integration that elife has done. And just a reminder that to do so, you need to create an elife account and have your orchid ready. I hope everyone on this call, you know, has an orchid. They're big supporters of hypothesis and we're in turn big supporters for them. So we feel everyone should have that. And if you have any other questions, don't hesitate to get in touch with me or Nate or anyone on the team and look for some announcements in the next couple of weeks and months of new publisher integrations that are going to be coming out.


Windowing functions such as Han, Bartlett, Tuki or Hamming Windows to name but four fade a signal in at the beginning of the window and fade it out again at the end of the window. Windowing functions are especially important in the FFT. The number of samples you can feed into the FFT, known as the FFT size, has to be a power of two. But your signal is probably a lot longer than the size of your FFT, so you have to cut it up into small FFT-sized pieces called frames and run the FFT on each individual frame. If we fed an unwindowed frame into the FFT, then that frame would end abruptly and the FFT would think that there are high frequencies present in your signal that aren't really there.  To reduce this problem, windowing functions ensure that each frame begins and ends at zero or nearly zero, depending on which windowing function you used.


What's up everybody I'm the Mangus, you are awesome at undying games made over $80,000 in less than an hour on Sunday by selling NFTs. What are NFTs? It stands for Non-Fungible Token. It's basically digital art that has a form of electronic provenance. Provenance being a paper trail for identifying the authenticity of a piece of art. NFTs are often bought and traded much like traditional art, or in this case, like trading cards using digital currency.  Bottom line up front, undying discovered an alternate means of funding production alongside the planned Kickstarter without seeking investors that would claim a stake of the company. This all started, for me at least, when someone in Discord asked about the NFTs going up for sale on Atomic Hub. Undying obviously wasn't prepared to release this information yet and they immediately went on the defensive with a focus on letting people know that they're going with an eco-friendly route. Them getting defensive like that raised my hackles. I figured that even though I knew nothing of NFTs and had zero clue how any of it could possibly affect the environment, them getting defensive was a red flag that needed to be investigated.  I've already explained a bit about what NFTs are so let's first address what the environment has to do with anything. Most NFTs are paid for via Bitcoin, a currency that is known to use a massive amount of energy thus leaving a huge carbon footprint. I still don't 100% understand why that's necessary and to be honest, I don't care because I'm not into Bitcoin and it also doesn't apply to what undying is doing. Ethereal NFTs are traded on Atomic Hub that uses wax instead of Bitcoin. It's still a digital currency but has tremendously less impact on the environment. I mentioned that NFTs are kinda like trading digital artwork. People have been buying and selling art for centuries so no problems there, however NFTs work a little different. People normally don't buy these because they enjoy the art.  But no, they don't buy the art for the sake of having the art piece, they buy them in the hopes that the value will increase and they can sell or trade them at a higher price then they purchase them. Just like stocks. It's just like Dogecoin or Paris Hilton, they have no intrinsic value but people assign worth to them just by communally agreeing that they have worth. That's the other reason undying got a bit defensive.  But just because I think something is dumb doesn't mean that there isn't money in it. Think about how much money people have made by investing in Dogecoin. Also undying has already reaped the benefits of using this system. I would personally never buy into any of this but I'm happy that undying has already made some money off of it. Undying's NFTs are actually pretty cool. I know many people that invest in these not only because they believe that they will increase in value but because they enjoy having the art. I watched Jelly Knees buy packs from the sale and it was kind of exciting to see them combine shards and attempt to get the cards that he wanted. If there was an art team knocked it out of the park with these NFTs. I know some people have criticized undying for dedicating one of their departments to this when they still don't have a finished game but as I've mentioned in previous videos the art team has already done their part and it's been done well. The departments that need to be working now are animations and programming. The NFTs were a way to use a currently underutilized part of the undying team to contribute towards the monetary support of the rest of development. I've been told that much of the money made will go towards getting a new programmer and channeling some money into mocap so that they can improve animations. Don't worry though a percentage of the sales go directly to the artists that created the NFT so they aren't getting fucked over here. I do have a problem with all of this though. Undying made a promise to the community that they wouldn't take any money from the community until they had a gameplay trailer to prove the game's existence. This is the reason we still don't have a Kickstarter from Undying. It could be argued that the NFTs are completely separate from the game and therefore don't count towards that promise however they recently announced that the NFTs can be used as a profile pictures in the game. They can justify immense words all they want but the simple fact of the matter is that undying games receive money for something that will directly affect the game before they release a gameplay trailer thus breaking the promise that they made to the community. They've delayed alphas before which hurt but they always had a caveat for that saying that the alpha will possibly be this date they never set a firm concrete date for an alpha. This however is different this is undying doing something in direct contrast to what they said. I personally think they never should have made that promise to begin with. They should have had a Patreon or some sort of way to fund progress from the very start. I understand why they didn't. There's a stigma associated with Kickstarter indie games usually MMOs for some reason where a developer offers the world but it's all just a quick money making scheme. Undying didn't want to ask for money because they didn't want anyone to think that ethereal was a scam. I've play tested the game now and I can tell you that the game is very real so I'm glad they're making money from the NFTs. I'm happy that they broke their promise in order to increase the pace of development. It was a dumb thing to say in the first place because developing a game takes money and they need to sustain the team in some way. But make no mistake a promise was broken in Pepperidge Farm remembers. My final thoughts on all of this is that while I still think the idea of NFTs are dumb undying going out on limb and trying a new and innovative way to fund the game is awesome. Even more so because they succeeded. They ended up making around 130k so far. They don't get all of that for the game. 32% goes to the artist directly. They've also added 700 new followers to their social media channels which is an advertising success. It gives me hope that all the other risks that they've taken when developing this game will also bear fruit. While other games I track have investors that now have a say in the direction of their game or may have pissed off a potential player based with battle passes and early development undying has discovered a way to utilize a previously dormant department to create an alternate means of funding the project. Hopefully this combined with the eventual kickstarter will set undying up to have full control of a successful product. Like the video if you enjoyed it subscribe if you want to become a member if you want to support what I do monetarily. But for now this is the Mangoo signing off you guys have a good one


amazing song lyrics are straight from the Bible is it which one the oh the creeping death Metallica song those are straight from the Bible the lyrics for that master of puppets greater than right that lightning master of puppets was pretty very good album creeping death yeah yeah yeah unfortunately both Metallica loved them but just since Metallica came up we'll do the intro to the stream later since Metallica conversation come up I loved Metallica in the 80s 90s and stuff like this loved Iron Maiden more Metallica at the time but Metallica definitely amazing right and during the Napster years and soul-seek and stuff like this late 1990s right where there was a lot of p2p file sharing going on I had four computers at one time uploading and downloading max right and during the Napster days yeah during the Napster days right haha that was that was hilarious that was hilarious death you must know that 420 you must know what I'm talking about right with the cartoon that came out afterwards but basically I was one of the one of the 300,000 I think at the time the Metallica came out the other lawyers involved because people were sharing Metallica albums right and I was sharing the whole discography at the time right so I got I was one of the 300,000 people they got a little letter from Metallica Metallica's lawyers saying they're gonna sue my ass off right so I got that letter and I was like a Metallica fan I'm like what what a I started laughing of course and I increased the bandwidth and you know prioritize metal I did that for a month I kept on sharing their music for a month but then every time I was listening to Metallica I just never finished the song it would turn it on then a bunch of a-holes man I would kept kept on turn after a month I still I was sharing their music right after a month I tried to listen to Metallica and I just couldn't right so I deleted all their songs and I haven't actively listened to Metallica for 20 years now because they burned their bridges they came out Lars came out later and apologized for suing their fans for sharing their music but it wasn't sincere about it the reason he apologized was because they started losing revenue right they weren't making as mint money as before so they came out the rest of the band members are like dude what are you an idiot we're losing millions of dollars you're threatening to sewer sewer fans what are you crazy you had to go apologize and then he came and apologized right but it wasn't enough he should have put millions behind people sharing files you should have you should have put tons of money into the system to protect people who are being sued from dingalings we're just greedy little SOB's we're just trying to prevent sharing of art right that's my story Metallica aside from that gang welcome to the live stream we're gonna do a little mathematics if you like what I'm doing I am on patreon patreon.com backslash gcho CHYCHO if you want to support this work patreon is a fantastic way to support this work and you can just follow the work because I don't put anything behind pain walls you can take a look at what I'm doing and if you like what's coming out and if you have do have the means patreon is a fantastic way to support this project I am live streaming on chicho.tv backslash chicho live CHYCHO live if you want to follow this work live and participate in the chat twitch is where you want to be at


So what is new, it's actually not a lot of things, but there's a lot of thinking behind those few things. So we changed the service backbone of it variety a little bit. We simplified conceptual service, we changed a bit in logical service. We included the service catalog entry and the deck to correct now called actual service instead of actual service CI. That all seems very simple, but the important thing is the white paper behind it that has been written. And that is actually based on work that was done in Price One House Cooper where they implemented the service backbone using various tools. And so we got to truly test out does it work or does it not work. And that's the reason for us to trim a little bit in the standard. Then as a consequence of the work we did with financial management, we focused a lot about how can you do cost tracking across the value chain. And it turned out that using the service backbone and using the concepts of all the connectedness that exists in IT for IT, can actually do a pretty smart way of doing cost tracking. And there's a white paper on that and the white paper has fit a lot of updates to the standard in terms of data flow that needs to happen, as well as some attribute definition that I'm coming into the functional component to support what data you want to collect in various places for IT for IT in order to support financial management. And then finally there is a few minor changes here and there that is basically just the people discovered box if you will in 2.0 and that's just being introduced. In some of it is also around some of the definition that was written in the core section of the standard to clarify and make it a bit more precise what is being done. And actually if you look into the details in general the structure has been more aligned across the value chains, the four value chains documented, and in 2.0 they were written by four different people. And even though we tried to coordinate it a lot, it wasn't completely aligned and it's much better aligned now in 2.1. I won't go over these edits that start you can see it from yourself when you read it. So the first change is a pretty simple change but I think it's pretty important. If you look at the value chain picture in the middle, it used to say reference architecture. That's really not kind of the middle of it. It's all part of the reference architecture. So the important thing that ties all the value chains together and ties the value chains into the supporting activities is really the service backbone. So we promoted the concept of the service backbone into the value chain concept. So that's actually pretty important when we start introducing this topic and that you will also see that as we go through the presentation today that the concept of what you can really get out of having this service backbone is pretty amazing. The next thing is the level one diagram itself. And what you see here is 2.0. So you should all know that and love it. And now I'll press the button and we'll shift into 2.1 and you have to think about so what really changed. There we go. Did you see it? Can you see what changed? Probably not, which is a good thing. The changes are very small and it should be so because a lot of people take this level one diagram as a starting point for a lot of these questions. You all learned it. So we haven't dramatically changed what you start out with. But there are a few changes in this diagram. So the changes are, well, we changed some of the names of some of the data objects. So it's now called enterprise architecture in the architecture component. We changed the logical service to, well, used to be called logical service blueprint, but now we call it logical service blueprint concept confused a lot of people. But we come back to that the blueprint still exists actually. At level two. The service model consistency around the site service and actual service it was called actual service CI and that concept of CI was really about shouldn't be there. So we have consistency now. The service catalog entry has become part of the service backbone that's a pretty controversial topic actually has been going back and forth a number of times but essentially it is part of defining the services so it's part of the backbone. The bigger change is that the conceptual service blueprint disappeared. So service portfolio at level one only really have a single thing that it maintains which is the conceptual service. And again that comes back to the simplification that was the realization when price of waterhouse Cuba was was actually implementing service backbone that you really did not help to have to it actually confused more than it helped. The other change that happened and that the consequence of it financial management is that in the chart back showback component in R2F. We now have a charge bank record in addition to the chart back contract. And that's pretty again pretty important to have and track. So that has got introduced. That's all pretty simple. So we can end here and say this is what happened in it for it in version 2.1. Of course, the details of what matters. So if we go through each of the four values screens at level two. We'll see that there is a bit more changes going on. The first one is in S2P that the conceptual service blueprint actually still exists as an auxiliary data object. So it's not core in tracking into it, but it's still something you want to keep track on the various versions of a particular conceptual service. The rest of the changes are really around the data flows that is happening. Both in terms of systems of record data flows and in terms of engagement data flows that has been added because of working it financial management and there's quite a lot of them. In S2P, which is not surprising because that's where it starts and ends in terms of it financial management. Here I won't go the details of how the various budget information or scoping information etc is being said the back and forth between the components that's all documented in the standard but it's important to know that there is now a lot of these flows being documented. They support the financial management and that's a very important enrichment of the standard. It is not changing the standard it's enriching the standard, which of course again is a very good thing so you don't have to throw any information away as such. Moving on to the R2D requirements to deploy. Again there is a number of data flows that has been introduced because of IT financial management. And you would also see here that the logical service blueprints still exist. So basically what we did was to say okay the logical service is something that captures that you have made designs for a particular service and how you want to deliver that service. So it's a systems of records that captures that you have service designs. The blueprints are really the architectural drawings of how you develop your piece of software and yours you will have many artifacts of and you would associate them with the logical service that is being developed. So the logical service is more a container for all the things you do around service design. So that change helps in communication because you don't have at level one to talk about this blueprint thing. You just basically say you have a logical service which is part of the service design and that's where you keep track on what you have designed. Moving on to request to fulfill. There is again as with the STP quite a lot of things happening as a consequence of IT financial management. That is not surprising because that's where you consume the services and that's where you have these components like usage and charge back show bank which obviously is very relevant to IT financial management. So the data flow here has been significantly enriched and added so that it really reflect what you need to do. We'll come back to some of that much more in as we move to this presentation today. There was also the service model naming consistency with design service and an actual service that is of course is reflected at level two as well. And the fact that the service catalog entry has become part of the service backbone but that's the same as what you saw it at level one. Finally, we get to the detective correct at level two. Detective correct is the least impacted in 2.1. Again, it's really just this service model consistency that that has changed. There isn't really anything coming in from the IT financial management side on detective correct. The fact that it's running. It's running. That's nothing to do with the financial management that's all happening at request to fulfill. Anybody working a lot in the D2C area won't really see any significant changes except for the actual service is now called actual service and not actual service CI. The way you model an actual service is probably as a network of configuration items as we love from existing seem to be technologies. But it's abstracted as an actual service.


this guy. So first thing, and this is just a little technical note, it would be awesome if you could submit these guys in separate forms. So this would be a quick time, this would be one, this would be one, you know, and actually in terms of presentation, this is pretty cool. I am fine with these, this front and side like this, so that's cool to see. So I think, you know, just for completion sake, it's cool to see from made to be, so I think, oh it's submitted like that, and okay, where's my thing here? So you can bring these movies together, that's fine, and in that way, you know, we can zoom in a bit and it's a bit bigger, but I think that is gonna help me a lot in terms of looping the whole thing. So just submit that for a walk, but no title cards. Same thing for this, this is cool, same thing for that. You can have a title card with explanations for a shot like this, that's fine. Just a bit tricky for cycles. So I have to go in there and you can adjust it, so it might be more of a rougher look at it. I'll chill and pause, don't try to edit this. I'm back, which was just a blip on your end. Let me try this. I still prefer a separate file, it just be easier. So if I watch this on the go, or on a different player, where I don't have editing tools, I would be able to really watch it. And this is really cool. This might just be me, it's probably me, because right now it's already popped over there. There's some, watch out, there's some things in her hands here, the spacing wise, how much she goes over and then kind of sticks over these two frames here, goes over and stops and then moves over on that way down, kind of flattens a bit quickly. And then here comes fairly straight at us, so that arc is a bit too flat and then suddenly moves it right and back to the left. It's very subtle, but it has a slight hitchy bumpy feel. I will probably reduce the bounce in the shoulders, so it's the up and down is a bit strong, not by much, just ever so slightly. And then for your, I would delay the up and down, so the rotation, rotation this way by two frames, there's a slight feeling of it goes up, like the body goes up and it goes down and it's the drag and overlap that's slightly too in sync here with the head goes up and it's done and now the head goes down when the body goes up and it needs to be slightly more overlapped so that when the body goes up it still continues to go down a bit and then does that delayed overlapping feel. It's a tiny thing, tiny, unless, hold on, I remember your offsetting values, I'm not sure if that goes into the offsetting values, I would definitely do that into your, into your main, what's the word, your main cycle in there. The asymmetry is fine, that's an added detail, you can look at at the ends for sure. It's about it though, it's already in a really really good spot. It's great, you get the offset and the rotation over it this way, this is all usually stuff that people forget to put in there, so that's really really cool, I already have all that in there. Yeah those are the only points, I personally feel I was like a bit of a sharper hits on hips so hips wouldn't really go up on this frame just yet, there's a little bit of a up you already have, I would delay that by two or three frames because on that on that step it just hits and I know it kind of buckles the leg and pushes the hip up but I would make it much much smaller and only after here at this point then when it goes back that's when all the weight is on, imagine your curve, you can have the curve ever slide like this where you don't want it linear but you don't want it splined, you would break those keys and put them at the 45 degree angle so it has an ever so slight bump that happens right after the plant so you kind of feel a bit of a sharper up on the hips yeah that's kind of all I see the rest is a bit more in terms of how you want your character to be you know it's and it's overall acting if you will even though it's a vanilla walk I think the side view works really well I think in the in the front view I feel like it's she's a bit bouncy in terms of the left and right how arms swing and how much her hips go over and how much her body is left and right I probably tone that down like 30 40% but then again it's not that it looks wrong there's just something about it that just feels a bit yeah just I think bouncy and swingy is kind of impression that I have but again it's not that it's like technically wrong just the feel for like this could be a bit toned down for for vanilla walk and you're adding here clean cycle until layers I know that depends how you prefer to work because we at work we have you imagine this is a controller and that will be in our outliner we have above it like a mocap null and below a secondary now so we have those built in into our rigs so I would usually I technically at this point I put it all into the same controller I don't want to put too much stuff onto onto other layers unless it's just a correction but that's only because if you stop working and you got to give it to someone else might be too confusing or do you take too long to figure the scene out so I'm simplifying it but on your end you can do it or you want to you can then at this point put into the cycle or put up a layer that's really fine alrighty let me go to this guy look at this guy this you as well you have it I can look at both ways and see what's better it's cool too I'm gonna go back actually to this view only because it's bigger so I have a feeling even though it's cool to see more from A to B alright first impression is that I think there's a lot of whoops hold on that's my quick time wrong arrows it's one of the reasons why a separate file will be awesome with there you go so it feels like I'm looking at this line here how much it goes back and forth like that and I feel it's a bit too much and you want to kind of keep it more up the nine as well there's a bit too much going forward there feels like he's bringing forward and something's pulling him back so it reduced that amount then also keep them warm on the on the vertical line not so yeah I know even for vanilla walk this seems a bit strong with his arms again it's not that it's wrong it just kind of beyond the vanilla walk so probably with that arm of it further back here and this guy not as much forward but again I think in terms of practicing and going through things I would it's fine it just seems a bit more than a vanilla walk but you know in a way adding adding character to things is always much more preferred so many impressions were that move like this diagonally I'll keep it more up and down and tone it down a bit and the feet I will probably reduce the T UI here so ring this guy a bit lower there's more of a drag and it's closer to the ground and you could potentially even through here you know lower and even at this point you can have it slightly more tilted forward and then get into that and that's okay translation it just it feels like you want to be at this point again lower and then a bit lower here actually you know here it's fine and then down reason being if I go back and forth you can put a pin here and it really really pivots off of the toes here also just spacing wise it goes forward forward and then stops so you can slow this down as well so that on this frame that the heel would be back there because the thing is by having it so high up here and not draggy here it feels like he's a lot in a in a horizontal position where it's almost a stumpy feel like he's trying to stomp down on the steps and it could be just a bit more relaxed in the toes other than that you got an outside arc on these guys I'm a big fan of rotated out like that again some detail that people put in I think the rotation in his chest is a bit much so see this how you go from that straight amount to this amount of curvature and if you loop this boing boing boing boing that makes it a very very bouncy rubbery feel to the chest I'll probably use that by half as well a bit more subtle even if you keep it in you know at that extreme and how big those arm swings are just that just feels like someone's pushing his chest forward so even if you don't reduce the amount of arms and it's a bit more in that character range I would still reduce that bend in the chest if you would reduce this it would also reduce the amount of side to side you have in here just watch out as a bikino wait look at the spacing of the knees through here it's totally straight towards us and it pops to the left then it suddenly stops and it goes back to the right so you want to track these and make this a bit smoother if you're a bikino it feels a bit hiccuppy and the body's arm same thing where I'm tracking this guy and it goes over and it goes over and it goes over and then kind of stays put and then down boom it feels like an invisible wall there you can also kind of ease into that stop and down oops that is me adjusting curves but that's pretty much it yeah this is a bit tricky I'm not sure if quick time can handle that this would be neat if you could probably resend it and you just copy paste copy paste copy paste for a bit of a longer cycle and just have her sometimes a quick time when you set your own in and out might not work properly like this should be a technically yeah I don't see it's a bit funky this one definitely needs yeah I know if you could resend this one separately in this copy paste couple of the cycles so it doesn't cycle so quickly so I know that I've had at least two or three clean loops but first impression is too fast and too strobie that sounds like a fast infuse maybe too fast too strobie it just feels for the for this a huge amount of up and down for that amount of speed if you're running this is more like a jump run I'll probably use that by half so that would already take the bounciness out you know if you're going especially going for a generic vanilla run there's something to the bounciness that's kind of funny in the a to b view but then it feels like that bounciness is not reflected in her arms so that could be a bit more playful like I feel like there's so much bounce that it's almost something where it would affect her arms a bit more with like a side arc or just not so bent through here they're almost more swingy and happy they almost get certain points are out like that a bit more straight if you keep that bounce and if not like that seems to be more like a generic pose but then you got massive bend here and a huge up and down just so it's a bit of a contradiction there in terms of the presentation of what how we're supposed to feel about her and that makes sense I guess there's a there's a hint of this is going to be a generic run but at the same time you have such a up and down that kind of takes away from that it gets into into character land and even how much you rotate that chest towards us but then it doesn't feel like the hips are are towards that leg you know so I would reduce the rotation you have in y but then add more rotation in the hips and y this way so that at this point we might see more you know part of that butt cheek and then the other one is here if you're going that far if you will go that much with the up and down then I would also add a bit more drag and overlap on the head not that has to be crazy overlapping bouncy but something that really takes into account that there's so much force that goes up and down it doesn't really have that and also be careful with how much forward and back momentum you have looking at that line of the head how much it pops back here we just asked that overall poppy bounciness seems better it's not as poppy but it has the same feeling of how much forward you go and back has a nice circle there you know in terms of when you are but the moment you do something forward and back in a stationary cycle unless you did it in a to be in and that's the camera view but even even in the side view go back here made in point here and so if I'm looking at the a to b there is there's a moment of what kind of stops and then shoots forward and stops and shoots forward it's subtle here and it's it's the thing that anytime you have something that goes so much forward that's not driven by roots it adds a bit of a bounciness and a weird stop and go in your side view so it's me this bit too much too much of that subtle it's mostly when you play in real time watch out spacing wise it's a bit funky where it goes to the right stops a bit and it goes to the right stops a bit to the left those little pauses you have in there it's cool though again I would probably reduce it just a tiny bit meaning like how much you curve out into the left and right here I guess hips are just a bit too strong especially on a run it's not going to be if it's bouncy and jumpy excuse me it will be okay but if you're running the faster you run the less you're going to have left and right and up and down it's going to start to be a lot more straight nothing for the amount of speed it just it's just a bit much with the front and back and the side-to-side probably use that that's about it though it's pretty cool so let me just look at this guy like that well can I come anyway no no no no hey you owe me can I come anyway no no it's cute uh first impression there's a lot of a lot of movement in there you know it's um lips in past just addressed it over you about turning down the bounces when he lands which I think was good maybe 10 20% more but it's pretty good uh arms and body all right no hey there's something slightly slightly dirty in the feet how much especially through here it almost gets into mocap territory where I feel like there's so many keys and there's so much going on in the feet here so much movement it kind of pops here that goes up and immediately comes down there's something a bit too much in that I'll clean up those keys just a tad yeah even through here on this how much it goes up and down it's just feel slightly dirty as in just so much waiting for any keys and watch how you got your uh pop in your eye kill a kind of over stretches at this point at the end they're looking just at the feet they're a bit dirty in the keys especially at the end so it's a slight little thing at the end here you watch see how it kind of pops up then goes through right so watch out the feet it's a bit more clean up there I still feel it's a bit bouncy it's not crazy don't watch the whole thing here just a bit it still feels bouncy yeah so you know by that it would just be not as much recovery that you can reduce how much he bends just by 20% and how much he goes up by 20% so there's not I'm looking at mainly that difference how much he goes up and down and how much bendage that's a word how much he bends in the body here and yeah it's mostly the ty that will fix a lot I think at the end that is a bit much it feels like you have a really bent over so in a side view you will be like this and then it's almost like into that so it feels like that change in the spine is a bit too much really right there at the end this makes him very rubbery you want to keep this a bit more solid and I think it adds to the whole rubbery bouncy feel with the ty here and the change at the end now with the audio yeah well can I come anyway no right now and this is a common thing with lip sync you want to make sure that the words are really if you have to feel like they come out of the chest and that the head is affected by those words by that I mean actually I don't even know what he says here that's my esl at this point at this point I don't know what he says can I come anyway no I something committee quitty whatever he's saying here but it when he says that word he might have a bit more of an up in the sideways rotation in the head so it doesn't feel like it's all in the body and then you just add lip sync to it it needs to affect in terms of how you know big jaw moves are going to affect the rotation of the head oh can I come anyway no no we have it a bit in here oh no that's not too bad can I see you have a little down in the nose and up but it could have an ever so slight move to the left so it's not just in here but has a slight rotation this way no no hey you owe me oh well can I come anyway no no one is there this I don't mind not being in there because he's really more pleading and it's a bit more focused and you look much more still and that stuff is cool at the end that's what I mean that little rotations changes like that stuff I just be careful in how harsh they are it feels like he rotates over kind of clockwise boom and then that rotation just stops only a linear key back to the legs you also that knees a bit dirty much how much goes up and down so just the foot roll and stuff like that and the feet is probably one of the bigger comments the bounciness would be on the same level yeah and just how how dirty it is at the end so like I said to the rotation kind of stops so quickly with this foot going boop and then moving to the right and how much bendage you have there in the chest because it's kind of a rough feel it's pretty much it's um let's see apart from asymmetry same thing here as it's quick time it's a bit depending on where you click it's going to change my in and out points it's a bit funky so anything you can do to send these guys separate movie files um can I come anyway no no no no I think the kid that amount is okay but you have a lot of it in here as well so I would probably reduce how much the corners go out just for more contrast so it's like that feels fairly similar to that see how much that's here 38 71 right so I would reduce that so that this stands out a bit more uh even then I would reduce the jaw just a bit go up a bit higher it's a bit too big I think this could be more of an O shape a little bit this was a bit more like just corners in and kind of a lippy kissy thing here well can I come anyway no and I think for this one it's going to be a big thing there the asymmetry it's how much you're going to favor a corner and I think with this and the accent everything I think you can really get away with a massive offset here in terms of asymmetry oh well can I come anyway no no no hey you owe me that's cool again no no no no hey you owe me hey it's a bit too big it was almost back into the beginning territory so just reduce that and bring the jaw up a bit more it's a bit more subdued at this point I think in the language no no hey you owe me hey it's for to close this guy a bit more and go a bit higher but not as far and this can a lot more in so again the offset is gonna asymmetry is gonna help a lot you owe me oh well can I come anyway no no no no hey you owe me yeah the rest on the face is cool I think the blinks are a bit too fast let me step through this here this part how far you go from here to here I would add at least one more kind of through here to soften that and then watch how much your brows go down once the lids are closed like this almost feels like a close but then you have this massive shape clamping down this feels a bit much so you can reduce the amount of down on the brows this feels like it's a massive chunk of geometry going down and the bones no no no yeah I just feel like suddenly his head collapses oh hey you owe me yeah that's about it um and in terms of your ultimate vanilla cycle presentation that can work just for the sake of not being so stereotypical where it's a guy checking out the woman you know you could switch it up it could be a guy walking and a girl is looking at him why not also helps not always be the the woman as the objectified character um what do you view yeah but that's kind of neat that was good to have a little twist and a variation on the cycles it's not so cyclically um ogre that's totally fine too if you want to use an ogre that's cool switching those rigs yeah and I sold you on ditching music all right so that is pretty much it so yeah hope this is all helpful um if you send that amount of shots the review is going to be longer um I can't always promise to get to it on the same day if they're that long um so you can always send if you want a bit of a more speedy response it could be just the cycles and we save um that for the next submission you kind of offset so while you wait on this guy you would work on the cycles by the way for cycles work on this guy uh or if you don't mind I could you know a day longer on the feedback cycle uh I can do it all at once all righty but the main thing would be if possible to send these guys without title cards uh separate quick time files and it wouldn't be you know like here a couple cycles and then you know a couple seconds of this of the loop cycle all righty thanks all right there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome all right thank you


Hello and welcome to this presentation of the STM32MP1 Trust Zone address space counter. The Enhanced Trust Zone Protection Controller, or ETZPC, is used to 1. Configure the Trust Zone security for secureable IPs. Peripheral security mode can be secure. Read and write access allowed only to the secure world. Write secure. Write access allowed only to the secure world. Read allowed to any. Or non-secure. Read and write access allowed to any. 2. Configure the SysRAM and ROM secure region size. The secure region is defined in multiples of 4 kilobytes and at the bottom address. And 3. Configure the MCU isolation domain with a set of isolable IPs allocated to this MCU domain. The key features of the Trust Zone address space controller are 32-bit APB4 interface. ETZPC is only write secure. Register set to control SOC security and isolation settings for SysRAM and ROM secure region size, TZMA0, TZMA1, access rights for secureable AHB and APB peripherals, and resource isolation to the Cortex-M4 domain for AHB and APB peripherals. Security configuration locking for each memory region and each peripheral. Secure resources. No control from ETZPC. ETZPC writes secure only. TZC always secure. AXEM-GPC always secure. Non-secure resources. Many peripherals are not controlled by security. They are not controlled by ETPZ from the security viewpoint. And MCU isolation is applicable to non-secure resources and controlled from ETZPC. Securable resources. Peripheral security can be either secure, write secure, or non-secure according to DECPROT bits. SysRAM and boot ROM memories have programmable secure region size according to TZMA0 and 1 settings. Note, SRAM123 and 4 and Retram cannot be made secure or write secure according to DECPROT bits. MPU and MCU domains definition. The MCU domain includes Cortex-M4 and DMA busmasters assigned to the Cortex-M4 core. The MPU domain is complementary to the MCU domain with Cortex-A7 and Cortex-M4 shared control, with the exception of peripherals with TZ security enforcement. The DMA busmaster inherits the MCU isolation property assigned to this IP slave bus. Secure resources. No control from ETZPC. ETZPC writes secure only. TZC always secure. AXEM-GPC always secure. Non-secure resources. Many peripherals are not concerned with security. They are not controlled by ETPZ from a security viewpoint. And MCU isolation is applicable to non-secure resources and controlled from ETZPC. Securable resources. Peripheral security can be either secure, write secure, or non-secure according to DECPROT bits. SysRAM and BootRAM memories have programmable secure region size according to TZMA 0 and 1 settings. Note, SRAM 1, 2, 3, and 4 and Retram cannot be made secure or write secure according to DECPROT bits. Type 1 Securable IPs are located on the AHB5 APB5 bus. They are secured by default after reset. The security properties can be changed to write secure or non-secure by ETZPC. They cannot be made MCU-isolable. Most peripherals are of type 2 non-secure IPs. They are shared between the MPU and the MCU by default after reset. The security property can be changed to MCU-isolable by ETZPC. They cannot be made secure or write secure. Peripherals with a busmaster change their busmaster attribute according to the MCU isolation. Type 3 Securable IPs are only internal RAMs. SRAM 1, 2, 3, and 4 and Retram memories. They are non-secure, shared between the MPU and the MCU by default after reset. The security property can be changed by ETZPC to secure, write secure or non-secure and MCU-isolable. DMA Master IPs which may be allocated to the MCU domain are DMA1, DMA2, ETH, SDMMC3, and OTG. A DMA Master is set to the MCU when its slave interface is allocated to the MCU by DECPROT bits. A DMA Master allocated to the MCU ignores all read-write access by the MPU, secure or non-secure.