So welcome to this session. We've got two speakers for this hour. We have Peter Bryant and we have Elaine Huber, both of them from the University of Sydney, and we will start off with Peter. Good afternoon everyone. My name is Peter Bryant. I am the professor of business education at the University of Sydney Business School. I'm also a trustee of ALT and have been for the last six years. So it's great to be able to present some of the work that we've been doing at the University of Sydney, particularly around the critical importance of student voice. So at the very heart of what I'm going to talk about is, on one hand, a curricular transformation project. On another hand, it is bringing technology to bear to address the challenges of scale, but it is also how we better embed an authentic representation of the student experience in those two other factors. Before I start, I would like to acknowledge the fact the University of Sydney is built on the lands of the Gadigal people of the Eora Nation, who have used where the University is built as a site of learning for over 40,000 years. It is at the intersection of what were three main sort of tracks between different Indigenous peoples in the area, or with their own unique culture, each with their own unique language, each with their own unique approaches to education. But at that point, at that site of learning, they came together. And it's a unique site that the campus is built on. And I'd like to pay my respects to elders past, present and emerging and note that the land the University is built on has been always and always will be Indigenous land. So I want to introduce you to the University of Sydney. Like most of the universities that were built around its time, it built itself a replication of Oxford. And in the time when the university was developed, its motto was, whilst the constellations may change, the learning remains the same, which is quite a sad representation of what the university was founded on. It's changed a lot since then and right at the very heart of the university strategy these days is the critical importance of First Nations knowledge and putting First Nations knowledge right at the very forefront of what we do. So we are Australia's oldest university. We're founded in 1850. As I mentioned, we're on Gadigal land and have been a site of learning for over 40,000 years. We have 70,000 this year. I think it's actually closer to 75,000 students across five faculties and three university schools.  And then the strategic intention of the university is to develop leaders for good. The business school, this is the inside of our business school building. The business school itself has 15,000 students, so that's just the school that both Elaine and I are working in. 68% of those are international and in our biggest post graduate program, which is Master of Commerce, which has about 8,500 students in it, that figure is closer to 90% international, mainly from one market, which is China. For anyone who's involved with business schools, we have the triple crown of accreditation, which gives us the kind of institutional cache that comes from being considered to be a leading global business school. We're highly leveraged in terms of staff. We have 15,000 students. As I said, we run about 300 units of study every semester. We have 280 full-time academics. So we don't actually have a lot of academics to deliver that kind of program. So we run big classes. Our largest class unit is our postgraduate core unit, which has 2,200 students in it in its biggest semester. So they're big classes with big numbers in there. That makes the challenges that we face quite complex. So what I want to talk a little bit about is something we've been playing around with, which is called teaching and learning ecosystems. At scale, when you've got so many different people with so many different programs, and we run from this huge program in the master of commerce down to an MBA, which has 30 or 40 people in it, one-size-fits-all struggles when you're making change. Technology doesn't help that to any great degree. The trouble with one-size-fits-all is you end up often with the lowest common denominator. That's what seems to work. You make it simpler and simpler and simpler and simpler, and you move down to the lowest common denominator. What we've approached this challenge of scale and this challenge of complexity is by looking at how you can create interactive networks of activity to engage the widest span of the community in your pedagogical change. So it's not one-size-fits-all. It's many different ways to engage with many different contexts. Now, that makes the challenge of pedagogical change difficult, but it makes the output of that pedagogical change far more rewarding. So our connected learning ecosystem, which is what we have based most of our change around is this notion of connected learning, started as this drawing in 2018, which Elaine will recognise is on my office wall and has been on my office wall since June 2018, and I started in May 2018. And it eventually evolved into this quite complex drawing, which I'm not going to go through. It's to point out that ecosystems are not simple. They're not just, I'm going to change X and Y will happen. There's inputs that go into that. There's different understandings of the notion of connection, and then how it becomes manifest in different projects that we do. And it was quite, when I put this diagram is relatively recent, this current version of this, when I put this diagram together, it's amazing how many bits and pieces of our work integrate together. And that's what makes it successful. There is complexity in what we do. But there's also synergy. These things are all connected and they work together. The most important thing I want to point out for the relevance to this presentation is in what I can see in my top left, or your top left as well, a project called WorkLiv Play Learn. WorkLiv Play Learn is a project we've been running since 2018, which is about understanding, collecting, sharing and giving people opportunities to connect with the authentic student voice through digital storytelling. And across the rest of this presentation, I will constantly come back to WorkLiv Play Learn. I just wanted to flag it right up front. At the very core of what we've been trying to do is we want to move away from this. Linear learning, particularly when you're coping with scale, is how you deal with scale through, you simplify what you do.  You magnify it. If we didn't have audio here in a room of this size, you couldn't hear me. So we magnify a single person's voice so that multiple people can hear it. We do it through lecture recording. We do it through a whole number of different ways. We multiply it. We run it multiple times. How many of you and your institutions have large lectures that have to have spillover rooms, where the students sit in a room and watch other people's recordings being played to them synchronously, but they're persons in another room? We have that in a number of universities in Sydney. Not at our university. We've not done spillover rooms, but certainly in other institutions in Sydney do that. And a lot of that is all done using technology. It's also very structured because to do that, you have to do things in a very structured way. You have to know what you're going to do each week. You have to prep that because the technology has to be in alignment. The rooms have to be in alignment. The timetabling has to be in alignment. All those institutional systems that rust on practice have to be in alignment. What we're trying to move to is a connected learning approach. And that's not about coping with scale. That's about managing scale. That's about leveraging scale for learning. And we've done this through three principles, which I think Elaine will talk a little bit more about when she does hers, but they are very much about how we transform the way students engage in information, how we transform the interact with each other, and how we transform assessment. And we don't want students to come back to us and have a thousand students singing the same song. We want a thousand students coming back to us singing a thousand different songs, singing their song. And that's the really important difference with connected learning. It's not structured. There's a lot more flying without a net for both the students and the teachers. But the end reward is far more valuable than the kind of very highly scaffolded approach to the scale required. So I'm going to play you the first segment of a video. This one was recorded in 2019 from our WorkLib PlayLearn project. And I'll have a question for you after. It would definitely be more campus events and more connection between students and employees. More emphasis on societies because I believe university is partly of study lectures, tutorials, and as well as having a very social aspect and making new friends and connections. Coming into university you hear a lot of stories and rumors about how everyone in university is unfriendly and people don't really talk unless like you talk to them first. But I found that with the tutorial it was it was definitely really engaging in how we interacted with each other and it was a lot more friendlier than I anticipated. Make the most of the time that you have because this could be three of the best years of your life or three is that you didn't turn up to uni and didn't do anything right. Just join any clubs that you think you have an interest in. You can only go the first time doesn't matter if you stick with it. I think I enjoy sort of experiencing that there are aspects of uni life aside from studying like you know joining clubs, societies, sort of like going for like uni events or external events. Just sort of enjoying and learning a lot from those aspects besides joining clubs. Okay thank you we'll stop that there. So that's a group of students talking about connection. Now let's put that in the context it's pre-pandemic 2019 but they're talking about the importance of showing up. The importance of putting yourself out there and talking to people. So I'm going to pose you a question. The VBOX link is there so open up your VBOX and put some of the text into that. There's the VBOX link there's the the QR code. What does learning through connection mean to you? So you as a person, you as a learner, you as a person supporting learning, engaging learning, helping others to learn what does it mean to you? That notion of connection. This will come up as a word cloud. I'll give you a couple of minutes. If you're sitting next to someone you can always have a chat to someone about it as well. But there's the word cloud popping up. I do like the appearance of the word rhizomes. I'm going to take a wild stab who might have put in there but I'm not going to do that. Yeah community coming out right at the top there rhizomes coming up again. Look I think right I think that those two are really powerful words because that notion of rhizomatic learning that idea that you can do something that seeds learning often far away from the context in which that learning happened is quite powerful. So is the notion of community. I think that's really powerful to what we talk about but interestingly across Australia the Australian version of the NSS is called the very cutely named Quilt which is quality indicators of learning and teaching and in that community and belonging at every university that isn't a university of only a couple of thousand students is the lowest score that any institution gets on the quality indicators of learning and teaching that notion of being part of a community and feeling belonging. The only universities to do really well are universities like Bond which has about 3,000 students the University of Divinity which has about a thousand. Universities like Sydney with 75,000 do horrendously on it. Fantastic thank you for that we might move to the next thing. So this is a project all we've brought together called connected learning at scale. The idea of connected learning at scale is to move from coping with scale to a designed for scale approach. There's things that come out of scale that are amazing. You know you can leverage the capacity to crowd. You can crowdsource ideas. You can bring people together and really crunch quite complex things because you've got the processing engine of people. It for us is designing an ecosystem that deploys a many sizes fits many context strategic approach. It is to reimagine every aspect of the learning teaching and assessment experience. We take units particularly at our very deep level. We take units and completely transform them and the outputs we get are fantastic student satisfaction data. We get really good improvement in student performance and now increasingly particularly in the modern era we are getting better student retention. We never really had a retention problem before COVID but it's become a much bigger problem for us in the last couple of years. And it makes a change in the way that we engage with partners students and industries in a community of co-design. The team that Elaine will talk about it in her in her talk that she leads is a team called business co-design and it was called that very deliberately because at the heart of this is the principles and practices of co-design. And this is how we connect them. We don't just connect them through working together on group work or talking in a classroom. It's about the spaces that they do assessment in. It's about the physical spaces they're in and how we transform the physical spaces that we are designing. It's about the curricular spaces and how connection is built through the curricular. It's about the online spaces they engage in and that we engage with them in and it's about the social media spaces that they keep hitting that microphone that they use. And at the heart of this is this idea that university is a transitional space. Now if you take the market eyes near liberal argument university is a transactional space.  That's the transactional space. When I was working at the London School of Economics a student report was entitled about the student experience was entitled get a two one and get a good job. And that was the sort of transactional aspect of it. We as people who've all been through university education and have been transformed by university education or higher or further education or any form of education look at how that particular experience made us who we are today. We wouldn't understand it otherwise. But in the middle of this is this notion of transition. We're moving from different forms of life, we're moving from different social structures, we're moving if you want to use the academic word, we're moving through liminality. But this idea of transition is really powerful and how do you design a connected experience for people who are going to learn something for a context, an environment, a crisis, an experience that has not yet happened. They're in university, we're teaching them to be leaders for example. They're not going to use a lot of that, they may not use that leadership knowledge for five, 10, 15 years. How do you create an experience that in five, 10, 15 years time will come back to them and they'll go, yeah that worked. That's what I learned something there and I can apply it. So the next question is going to be about this. What kind of behaviours work in this particular space, kind of space we're in now really? You don't need to be, if you're in the room, you don't need to be imagining it. But for those online there's one of our lecture theatres in our business school. So we'll play the next video. This is what we have. Space is important but it's more than building it. Whether that be from home or on campus, it's the social dimensions of feeling connected to your peers. Yeah well I think online a lot of the times you're in a classroom where there's just a sea of like no cameras, like everyone has their mic muted so whenever there's like a breakout room it can be a little bit challenging to like engage in a conversation whereas when you're in person you can really just like talk to anyone you want.  In the Fisher, in the Library you can feel all of us are studying. You can get a more better sense like oh I am in the university and I am studying not just playing the computer or just watching a video or something like that. I like being face to face and being on campus in the very hands of the person. So being on campus just like physically coming here, coming to the classroom, it's a lot better than being in my room. Okay we'll stop there. So there's three students talking that that was recorded in 2022 that so that's post pandemic they've just come back to campus and many of them had been remote in China for three or two and a half years. So there's some interesting versions of their space but I want to pose this question to you which is how are modern lectures that we give our students different to the experiences they had during the pandemic because we are snapping back to lectures. There's the V-box link but how do you, what do you, what do you think students experiences that they're experiencing now are different to the kind of experiences they had during the pandemic?  Yep more interactive that's something we'll talk about, I'll talk about a little bit but yes definitely. Yeah see look at the commonalities in that, it's all about interactivity. While you're putting that in there think about the way this kind of room works. It's almost impossible to have interactivity. It's really hard for you to talk to me. It's really hard for you to talk to each other and it's even harder if you talk to each other for then that to get communicated back here. These rooms are designed to amplify what's here and turn what's there into an audience, a passive receiver of information. Yet when they were using Zoom or any other form of online delivery interactivity was at the very core of that capability. Whether it was used or not is another issue but interactivity is very much at the core. Cool thank you for that one. We'll move on to the next one. So what we did over 2023 is we've changed our lectures. Our lectures are chunked We are still pretty much most of our lectures are delivered online and we are going to continue doing that as an important part of what we do. We do not let people just deliver online and do what they would normally do in a room and do it online. If they want to do that they can go in a room and do it in a room. What we want people to do is think about how they chunk their lectures make them interactive. A lot of our lectures use multiple voices. So a unit we run which is our kind of Sandpit unit called leading in a post crisis world has over 100 different voices rather than the singular voice of that person on the right hand side of the screen who's reasonably present because I'm the lecturer but there's a lot of different industry academic community students all those voices are talking about leadership in their own experiences and they tell their stories. We use a lot of hybrid media we don't just do use video I'm recorded there I'm one of there in my backyard with my plastic owl but we use hybrid media and it's all DIY as much as we can. We have an excellent media team but they'll do the high tough stuff but we really encourage people and in fact Elaine's team gave out hundreds of cameras microphones stands here she had one of her team during the pandemic driving these kits to people all across Sydney to deliver them so that people could make their own media and this is what it looks like to the students they get to see all of these people they get to hear their stories we bring in industry judges we have industry and academics collaborating together on research conversations that the students feed what they want to know it's highly transdisciplinary this changes the way the student voice is represented it's changes the way we deliver learning and it makes it highly interactive but still uses media because media then brings capabilities for accessibility it brings capabilities for reuse it brings capabilities for learning it certainly better supports people with disabilities because you've got different ways in which they can engage with the content and it's a very powerful way of doing it what it also does is you're not hearing a singular perspective you're hearing an incredibly diverse perspective of people you can follow that you can choose your own way pathway through it what we want to move from is this this is a university of Sydney veterinary science lecture first lecture of the year in August 29 2022 that's what the academic turned up to 400 students were meant to be in that lecture in total that's a small little segment of the room no one turned up so he tweeted this he actually taught to an empty room the next week he did it again one person turned up but they were an hour early for the next lecture and it wasn't even in vet science but he had a great conversation with them so we want to move from that because students are voting with their feet with that kind of that kind of lecture and to be fair to Jan he's a very engaging academic but it was going to be a very didactic lecture we want to move to this this is a piece of work we're doing around interactivity at scale we are developing activities and engaging lectures that are not people talking the one on the bottom left is a organisational theatre interactive session where three actors play out an ethical scenario those three actors then interact with the students through platforms like V-BOX with different questions and pose them different which scenario should we go down what kind of ethical strategy should we use the brilliant bit that they've been doing recently is they've actually been going and interacting with the students while they're working together on coming up with what ethical scenario they're going to go with in character and that is designed in rooms often for anywhere between 150-200 out we've done it in lecture theatres of 400 in the top left that's the person who moderated a panel session on AI and we had the panel session moderated and running for ages with an expert in AI from academia an expert I think it was a journalist talking about AI and then at some point during the session we actually told the students who were moderating it that that person was a bot and it was a bot doing it and the question then became how would you feel if your boss was a bot which is a fascinating way of doing it might skip that one and just move on to just talking about where these voices come from the heart of our co-design approach to this project is bringing student experiences into everything we do this project called Work with Play Learn started in 2018 we collect digital stories of students collected by students or recent graduates and they start to talk about what their experiences are and how this influences what they are yet to experience that transition state first year we talked about how students learn second year we did the importance of connection last year we did the impact of the crisis that was 2020-22 we did flexibility and this year we're doing community and belonging we collect about 100 digital stories every year and you see the kind of bits of them the aim of them is that they are all shared they're on screens around the university they're shared with developers with academics with senior leaders they're shared across the university they are they're not just for the student voice of that hundred that are in it but to create an associative community by that I mean people see themselves in those stories or don't see themselves and want to share their own stories we get people now who have seen these videos who want to be a part of the next year's project because they see it such a powerful way of being heard but a powerful way of their stories informing education not just for them but for future generations it feeds into curricula and the student experience and we use it in three different ways rhizomatic learning is one of the big things we use it for because these are a hundred students out of 15,000 so we want their stories to seed inspiration and co-design across the business school and across the university we use it for co-design co-design is at the very core of what we do we run we have students involved in everything we have student researchers we have we have student media makers we have student podcast makers we have student as students as designers they are at the very core of what we do and we use it as a strategic planning tool for the university the dean the dean's executive committee the people who run the business school all get annual exposure to these stories so i want to finish on a little important thing here this is the self-accrested cockatoo a very ubiquitous animal in Australia everywhere they're loud as all hell and they are very clever animals because what they taught themselves is they taught themselves how to open up rubbish bins now i am not an expert in ornithological biology but a person who is told me that the skill it takes for a bird to lift a bin is not in its normal biological makeup claws are not designed to lift claws are a scraping and a holding tool beaks are to break things they use their beaks and claws to open up bins and inside those bins they get amazing tasty morsels one bird taught themselves how to do that they taught every other bird in the flock how to do it they are a community they share they co-designed that and they also made sure they didn't tell the really pesky ibises that are around because those ibises do know how to open bins because they've got big curved beaks much easier for them but they act as a community they work together they work collectively young old it doesn't matter to them they want to be a community who can survive in a changing urban environment so i just urge you to be more cockatoo and be like them and share that with the community thank you very much


This week on another pop review. We're gonna take a look at the pop 320 Deadpool in Jeff Goldblum pose Stay tuned my friends Hey guys, welcome back to come again TV the only place on YouTube We're all geek culture collides if you're new to the channel. Don't forget to hit that subscribe button So you don't miss out on future videos Today we're taking a look at the pop marvel number 320 Deadpool bobblehead. This is the gold blooming Deadpool All right, first things first. Let's go ahead and take a look at the clamshell This is a different style of clamshell than what we're used to It's two pieces and the base fits in right there When my wife got this I actually did not realize there was a display base So anyway, there's the clamshell as I stated, this is a marvel bobblehead and the display base It has two pegs Because as you can see he doesn't need the display base. Otherwise, he's gonna topple over but it's got two pegs a Larger one and a smaller one the larger one fits right into bottom of deadpool's foot Right there so again since I kind of went off-screen and this small one Right there fits into his elbow just like that As you can see deadpool is wearing his trademark teleporter this This device right here on his chest. It allows him to teleport similar to the way he did in X-Men Origins Wolverine Only in that movie he did so as part of his as part of a Combined mutant power that he was given in the comics. He actually needs to use This device here to teleport This as I said, this is gold blooming deadpool he's He's laying just like Jeff Goldblum did in the Jurassic Park movie after he was injured Back when they were back at the lab after it was injured and he was recuperating Very nice design Very nice paint job Attention to detail is pretty good as you can see there's the underside of the display base and inside the bobble My wife picked this deadpool up I believe at GameStop I want to say it was GameStop. I could be wrong though She has become a deadpool fan after after we saw the first movie together she pretty much became a deadpool fan and Saw him she thought he looked cute so she picked him up And added him to her pop collection So there you have it my friends. This was the pop marvel number 320 deadpool in Gold blooming pose. I hope you guys enjoyed this video and we'll see you again next Tuesday for another pop review Take care my friends Hey guys, if you enjoyed this video make sure you hit that subscribe button right there so you can stay up-to-date on all Thanks geek culture. Also, you can check out one of these two playlists right here on the side for more videos Just like the one you just watched


G'day, I'm from the Australian government. Do you love koalas? How cute are they? No, look at this one. What about trees? Here's a koala in a tree. You like that, hey?  Your grandkids will only ever see one of these very bastards in a show bag. But relax, it's just a natural consequence of the regional forest agreements we introduced back in the 90s.    And now, thanks to those RFA's and the highest rate of land clearing in the developed world, we're doing our best to destroy what's left, which is why so many koalas have nowhere left to live, just like all you first home buyers out there.  But look on the bright side, logging jobs have actually, they've also declined due to mechanisation and, well, the fact there's few native trees left to log. So as you can see, it's been a lose-lose strategy. And that's why we're planning to renew those RFA's for another two decades. So we can turn what's left of this into paper, coffee cups and shit tickets, instead of using plantations, alternative fibres, and protecting the remaining wilderness in proposed sanctuaries like the Great Koala National Park and the Great Forest National Park, which would create stacks of ongoing tourism jobs, stunning recreational areas, a secure home for furry buggers, and help avoid epic climate change fail since our eucalypt forests store more carbon than any other forest in the world. Koalas in trees. Cute.  Authorised by the Australian Department for Intergenerational Theft. © BF-WATCH TV 2021


Good morning, Hank. It's Thursday, and the greatest ever pizza-mas, at least in terms of shirt sales, is about to come to an end. That's right, Hank, nothing lasts forever, not even cold November rain, and tomorrow marks the end of week daily videos, and soon you will be unable to get this shirt or any of the other amazing pizza-mas stuff available at Pizzamas.com right now, but only for the next couple days. Now listen, Hank, I don't want to end my part of pizza-mas on a bummer note, but I do have to take next week off from Vlogbrothers, because I'll be traveling with my family. Specifically, I'll be traveling to England to see my friend Mike Verbiglia perform comedy, and my football team, AFC Wimbledon, perform tragedy, or at least that's what the betting odds would indicate. But you never know with Wimbledon, America's second-favorite fourth-tier English soccer team, that most people in this community keep up with Viya updates on Dear Hank and John, our hit podcast that unfortunately has been on cancer hiatus for the last several months, which means that most of y'all probably don't know what's happening with AFC Wimbledon. Single sentence backstory for anyone who's new, my producing partner Rosiana and I sponsor a fourth-tier English soccer team called AFC Wimbledon, who play in South London and who are owned by their fans, each of whom pay about $25 a year in order to vote on the club's leadership. Because of that sponsorship, Wimbledon's women's team play with a partners in health logo on the back of their shirts, and the men's team play with a DFTBA logo on the back of their shorts in that liminal space between left thigh and buttock. The other thing you need to know about AFC Wimbledon is that we're bad. Like, there are other teams in the fourth tier of English football who are owned by major Hollywood celebrities or the Saudi government, but we are owned by our fans, and so we never have any money. So we've got a beautiful new stadium owned and built by the fans that's packed every week. What we don't have is, uh, money. So we're pretty bad every year. We used to be a third-tier English soccer team, but then we got relegated down to the fourth tier because we were so bad, and then we barely survived in the fourth tier last season, and this season wasn't looking like it was going to be any different, except something weird happened, which is that, uh, we seem like we might be good? Like, not to brag, but if you look at the table, currently AFC Wimbledon are narrowly ahead of Wrexham, the football club owned by Ryan Reynolds and Rob McElhaney, and were several spots above the franchise currently plying its trade in Milton Keynes. Also, and this is even more surprising, we're fun to watch this season. We have exciting young players who score lots of goals, and also a mountain of a man who rolls his shorts up so much that you can't even see our logo, but more on him in a second. So our star players this year include our striker Ali Al-Hammadi, who left Iraq as an infant after his dad was imprisoned by the Saddam Hussein regime, and now has become an absolute superstar for both AFC Wimbledon and the Iraqi national team. I just love him so much. Also, we have the mustachio James Tilly, who scored seven goals in his first nine games for us, and out on the other wing, we've got Aaron Sasu, an 18-year-old who's been playing for Wimbledon's youth side since he was 10.  Our fullbacks include my personal hero Jack Curry, who's also played with us since he was 10, and also Isaac Oganderra, who joined us at the age of 14. We're never gonna be the kind of football club that can buy big stars, so we're gonna have to make them, and we've done a really good job of that. And then we have our central defenders Ryan Greatbeard Johnson and mighty Joe Lewis. Joe Lewis, the man with the golden shorts. Joe, short shorts, Lewis. Joe, big man, small shorts, Lewis. Joe, we're only here for the shorts, Lewis. Look at how aggressively this man rolls up his shorts. You cannot see our DFTBA logo, and I, for one, am fine with it. The great thing about AFC Wimbledon is that if you love an underdog story, we keep on delivering because we're always going to be an underdog story. But the argument we've been making in the 10 years we've been sponsoring AFC Wimbledon and the 21 years since AFC Wimbledon reformed after being told by the English FA that there was no place for a football club in that community, community-held assets, communal action can work. It's not easy, it doesn't always work, but it can work. I know it's just a football club, but what I've learned from AFC Wimbledon, not just on the field, but also their local action group that seeks to address poverty in the community and the AFC Wimbledon Foundation, what I've learned from them, I've used and we've used in a lot of our community projects, including trying to get folks to lower the prices of TB diagnostics and treatments. And I'll tell you what, I'm sure we're not going to be good all season. I'm sure we're going to lose a bunch of our best players in the January transfer window, etc. But oh my gosh, is it fun when we're good?  Thanks for coming up with this weird idea, Hank. I'm going to savor saying this since I won't get to say it for a year. I will see you tomorrow.


beautiful okay all right okay so hack pencils down pencils down hack completes for now does not be over forever keep hacking after the event but right now see how far we got and so we're gonna have the next is we're gonna do quick report outs from the learning session discussion groups and hacking teams and I'm gonna ask everybody that was every hack into and have at least one person come on up to the podium here and we've got your slides already and so we'll just go through the slides and when your team comes up in the next slide come on up and speak to what happened who here needs a to plug in their own computer for something Kevin and cave on as and cave on okay that's not confusing okay so bring your computers and if you both independently verified that your HDMI friendly with this and you have okay terrific that is a political actually status HDMI friendly and it's gonna be ballot measure 12 so so basically and then what's going to happen next is we're going to sort of smooth on in from the report outs of the hacking teams into George Howard's basically four points of failure for blockchain in the context of music industry transition to a digital age in the open music initiative kind of motif and then we're going to go from that four points of failure and then further smooth on out to a facilitated dialogue and George and I will kind of go from the themes of your projects the themes of his talk and then we want to hear from really all of you at least once unless you know that if you move to say something please do and we want to kind of work with you and to co-think and address some of the challenges and opportunities and big questions that that George will help us to crisp up through the course of his talk sound good yes so you can't see it in camera lamp but there is an aggressive nodding of the head and we have an on-site chiropractor so we should be fine okay so let's see what's going on here all right so the first first project is Endor for the music industry this is so worse I think this is used up could you do a quick report out of what happened in the learning session for those of us who are unfortunate enough not to participate in it like if we were running an event that we didn't hear that look come on up here and we'll get each report out from the podium and then return to the circle here you go stop and door thanks first of all thank you for participating this very live discussion that we had a lot of raised and I think that we answered some of them you're welcome to address me after the session we could continue discussing those new questions that you might have but the idea was to talk about the way we can take data and you can create insights based on analytics and mainly thinking of maybe instructive ways such as and or technology to make it faster and make it available for everyone so kind of taking this point until the end and one of the things that we've talked about is how this problem is very very relevant to mainly all the organizations that have data have the sparsity of data scientists that do not work on all the business aspects of the company that want to grow their business from those insights and how we can do that better and faster with utilizing tools such as and or engine so once again thank you for for the time for the discussion I think that thanks for the whole indoor team for coming out sorry machine learning other days it's media lab metal layer some nice use cases here just quick follow-up question stop 50 cent did you email me your slides yet thank you so we'll rock on the spots slides back into the deck where can I find the deck DASA legal hackathon dot org invented handsomely right at the top near the top of the page moving up we've got vibe chain so by changing but come on up time to present so what we had to do was do search for our chain so for our song sorry so there's the catalog of songs on our song we want to be able to make a query from a mobile device and get the return assets from from our song so that's basically what we did the basic idea again you do a post to our API I think it's from a mobile device that goes to our song which returns an array of song that you can then display and let the user select and play music we try to get now we've got the first I guess layer down by you can put in one query item and really turn one song so that's I kind of the as far as we got came out to show you the demo thank you I'm a geek so everything is gonna be pretty deep in all black and white and we just haven't had time to develop the UI behind this but basically today you could go with a young Android or iOS go to your app store and download our song for your mobile phone for your device and we're one of the first companies that's actually storing the musical assets on on chain once you download the app then you could start playing with our catalog currently we only have four items there which is a pretty big release there isn't a lot of new material but there are musical assets that are coming on board so this project is about being able to search the catalog and again the catalog is on chain it's in our version of blockchain which in our case the implementations are done so why don't I start by showing you what the search criteria looks like since I didn't want to do a lot of typing I just put everything in a in a curl script and all of this by the way is in GitHub so if you could see this we're basically doing a post and in this case we're going for an album with the name tiny human and the song title tiny human and we expect a metadata that's associated with that to come back so all I'm doing here is basically executing that curl command and passing it through through a jq to get a to get a nice json representation so that's a payload that will be coming in for the purpose of this exercise we've got a song back the idea is tiny human and that's what we're after it has the song has two different two different it comes in two different effects there is a stereo version which is a typical presentation of music that you use with your with your applications and then we also have the 3d effect and it's one of those things that you actually have to listen to yourself it requires it requires hard headphones that are actually wired in it doesn't work with wireless or it doesn't work well with the wireless I should say and with the 3d effect you could actually feel the music traveling from from one ear through through your head to the other side it gives it gives that effect which is really cool once you start listening to it in any event going back to this so this is all the matter that is associated with that and you also see the uri for different assets that are that are part of part of this this this music product in this case there is the there is an immersive version which is the 3d version there is a stereo version and finally the jpeg version we decided to do it to do the metadata in this way because that would allow the mobile app to make concurrent calls and try to satisfy retrieval of all these assets in a power over that would be my presentation I'll be happy to answer any questions okay so this is so what I think would make sense to do is now that you presented it's kind of you can go to the next to the other two presentations here from George and then let's get some feedback on your presentation but they're a little bit of feedback that's appropriate now is put your hands together for that that was all done on the fly pretty good so there's an implementation of our song the Arling and our chain infrastructure to this very interesting use case provide change okay so let's see who is next thanks for putting that in there so next we've got on go okay so Kevin Sandoval is going to join us James who's the computer science grad student at MIT that worked with Kevin had to run so he's here in spirit thank you James for coming and packing with us okay let's hear about I go and I go project Mike yes so I came here mainly because I was really interested about being able to sample anything and not get sued for it so James really helped me just think about how to how to build it but essentially just from a very unsophisticated you know a quick take this is kind of like the mock-up that we did of what it would look like a very not friendly way but it's kind of like you search up a song Miles Davis so what very popular jazz song you play your stream you buy it more importantly what I'm more interested is like a sampling license and you would click on that and then it would give you the options you know you can number one remissing sampling which is where I'm being a concern about but also you know the commercial aspect of TV shows movies advertisements and then other whatever else you want and then the licensing fee which would be you know X amount free $5 a thousand if you're Kanye West and believe it's worth that much and you can be done to fiat credit or crypto and then you have the options downloaded right there or send the file to Gmail your drive whatever it may be and then you would just pretty much kind of like a smart contract I guess have the licensing agreement of you know miles agrees license song to produce a dealer for X amount and X amount of revenue generated by the new song you know revenue splits and then that I pretty much pay I agree to pay that amount and just share the proceeds with with this and that's pretty much it yeah not yeah that's it's it was like half an hour that I had can't really do that much but it's just it would be in color this is like the very unattractive not aesthetically pleasing version of what it would look like you know but any questions comments about it like that's that's kind of came up with perfect and so so let's we're gonna get into deeper feedback and this touches on a lot of things I know George got a raise but hey the first and foremost is I think round of applause for bringing this today to something that is what we would call it at MIT that's engineerable so congratulations okay thanks so now the next next as pronounced I go this is when we pray on Sunday that the screen will work please work please work pray harder okay thank you for your prayers so now we have what is this one which one is this skip a day skip one oh there was a bit there so here's another team up with Endor and Berkeley College of Music in a library context of you introduce yourself and run us through the idea yes thank you hello my name is Emil I work at the Berkeley library and I just was exploring how I can use libraries as data with a technology such as Endor and the first few steps was me running with my generic needs as a manager at a library and learning what are some limitations of things that I'd like to figure out but if I don't have actual behavior data I cannot predict the future in that case but Daniel walk me through situations where I do have transactional data that could lead me to make the decision what I make like what books to buy when the space have available in my library it's decreasing decreasing every year but I did not get clearance before I came here to bring my own library data with student data so we use data from last time that I had shared with the world to try to estimate how the process will be to compare song playback data we're pretending that is album checkout data from my library system and the use case in bold the last one was the one that Daniel actually fleshed out by grabbing the data from last seven which is given a set of engaged users find more potential engaged users because for example at Berkeley we feel that the music therapy students are heavy users we want to find other on tap students from a particular major that we want to promote more of our search so there's a information how to access this last FM data it the whole data set is 20 gigabytes and the second link is an analysis of the quality of the data and the patterns within it so like I said earlier I mostly focus on album data but then we use the visual track playback to imitate that now Daniel would like to say something about the process so to take you a bit through the process event at first we kind of dug into the data itself we played around we found some trends just by looking at the raw data then we took all the users or the most engaged users from the platforms from the transactional data there from there we ran our engine black here in black and green and we found more potential users who are going to be as heavy or similar to the heavy users we've worried before that and at the end the right side now you can see the sorted list of user IDs of people who are going to be very heavy just like as the one just like the ones we are worried for now the exact the exciting part about this was that it was very easy and we ran on partially encrypted data in fact it was so encrypted that we couldn't actually get the actual user data at the end only the IDs but in a real-world scenario me as an operator I would reach out to these people and ask them for to be a bit more engaged or even reward them with a coupon or a specific campaign so I started my discussion with Daniel about physical media like books and scores but I would like to expand that to analyzing electronic data or online based data like e-books or streaming audio hits but sadly I need a lot more data from the actual vendors and some of my own subsystems something else I want to explore getting hits and I like this I've been to work his own student registration system so I can track that information like instruments as soon as play and majors and I know the keys next step would be to get clear to share sample data from working with companies like Ender and I specifically like to follow up with working with Ender some more research sharing data there's also everyone better than sharing my use cases just to give a different perspective so thank you so next is just gonna go right to the site for this you're probably wondering how will I get to know what everybody seems to know at this hackathon go to legal hackathon.org and here's a little pro tip if you click on view me on GitHub you can unveil the underlying reality of the data one of the things we have here is a cool little wiki if you click on the wiki you can see you know more documentation all the tools and one of the things we have is you have learning session open music initiative to go to open music initiative you can get sort of the essence of George's remarks here's a little bit of background George and a preliminary video that we did set up the the date is this the article George you want the background when you're speaking sorry oh it is there so this one okay so now we're gonna go from those report outs to fill out a little more context with this article is some sort of a primer on two rules for success for blockchain music entrepreneurs and this remarks today are kind of a preview of the part two of this article but all told it's going to be four points of failure blockchain points of failure in the context of the music industry so with that George just like all of us here you're hacking to the last second which I love and admire but it is time thanks George thank you all for we don't need to look at Dolly so so yeah thanks for doing this right I mean it's not like there are other things to do one of something but this is important I think the timing is really crucial more crucial than than people would have you believe about the music industry as I said earlier it's really it's not a great time but one of the things that's been driving me of late is I'm obviously a true believer in the blockchain space of me I saw an image in up there in the tiny human thing and you go back on my articles back three four years now the very first ones the Genesis block was Imogen and I sort of writing out the spec in public for my silly and you know so she's a true believer we're all true believers in that time I think that it's pretty hard to dispute that blockchain as a tech has become what what you know not seem to tell you would describe as antifragile so even as you know Ethereum might get danged and hit and hurt and everything else I think we can we can plausibly say that blockchain is a tech isn't going anywhere and one in fact blockchain is a tech has been around a lot longer than people would care to talk about so I'm not concerned nor do I really care about blockchain as an underlying technology I do deeply care about music and art and I am driven by this idea that this technology actually might allow for some of these very interesting ideas to perpetuate but at the same time that blockchain as a technology is getting stronger and more in use blockchain as an answer or a way for music entrepreneurs or the music business or whatever to evolve I would say is that a deeply fragile state I say this for a couple reasons one that the the the startups and I won't mention any names so to speak that have kind of been kicking around for a while have have little to nothing to show for and if anybody wants to dispute that with me I'm all ears I'm one you know barely functional human being so I'm likely missing things but I can't find any examples the second thing what that's happened what happens with that then is it sends what's known as a chilling effect and we're all lawyers right a chilling effect to the investment community they say well look we've dumped money into this it's not working we'll turn our money elsewhere right and that's quite honestly a tactic that the the historic music industry has used forever right they've used forever barriers and moats and obfuscation to keep status quo status quo and and legal threats and everything else so that any entrepreneurial spirit that would that would in any way potentially disrupt the incumbents were very very quickly shut down so why what is going on what are the points that need to be to be addressed and looking at the the you know the the hacks whatever and they all are are within these four points and so this is all said with love and with you know again take it take it as you will but I keep seeing the same repeated problems the very first one is this the problem lies around the content itself so I love your what's the name of your company what is it with an H though right what does it mean oh I love that can you get that URL or do you have the URL for that so so like with yours samples is is a is a big bugaboo in the music business right and and I get completely or I think I get as much as one can from an eight-second pitch your gesture of hey let's open this up and you bring up one of my favorite songs of all time right Miles Davis and so what that's a competition he actually did right many of his companies that are famous he did not right exactly and and so he wrote so what and he in his publishing company maybe own that underlying right which is known in the music business and if I'm telling you stuff you already know I apologize but I bet everybody does it right so the that underlying rights that underlying copyright is known as the composition so he Miles Davis and maybe his publishing company on that on the other side Columbia Records put the record out that released that right and so Columbia Records owns the other copyright which is a sound recording for that's on kind of blue right so they own them and it's one of their most protected copy right they will sue the bejesus out of anybody that wants to do anything with so I would love to take 30 seconds of so what right and and put it into some work of my in order for me to legally do that or to do that without prima facie infringement I would need to get approval from Miles Davis's a state well no no Miles Davis is a state in or the publisher right and then I'd also have to go to Columbia Records and get approval from them neither of whom have any compulsory reason to do so in other words if I wanted to do a cover version of so what which would be a terrible motherfucking idea right but but not without my not without plausibility of my life right I could sit down with my guitar and say I want to cover so what in some drunken state and and legally they can't stop me no but hang with me they cannot stop me from doing a shitty shitty cover of so what neither the publisher nor the label because labeled having to do with it and the publisher can't stop me it's what sounds a compulsory license and I can pay the ridiculous fee right the fee set by who sets it huh yeah Congress right your United States representatives right our bicameral system are setting the maximum dollar amount that I can the Miles Davis can pay for so what if you can wrap your head around that explain that to me I'd love you for it I cannot think of any other industry in the world except for I was giving this exam maybe a dozen dogs like oh yeah well in Soviet Russia they do that I was like exactly right so I can't think of any other but but so you get what I'm saying I know but so why are you trying to build a business around that because you're not going to get like that so so problem number one point of failure number one with blockchain based startups you understand this but many do not they don't understand that the complexities around copyright law I'm begging people who are trying to do startups in the music industry I'll this one to work with what's known as control compositions by that I mean works that are owned or controlled by the person who writes the song and performs a song because therefore they can license it they can say sure and I'll set a price for you to build that process where I'm gonna license a snippet of so what you have at minimum and I bet it's more than this at minimum two parties that would have to be coordinated so you've got an order of magnitude more complexities at inception it's not going to work right you could use an Excel motherfucking program it won't matter your issue is not the technology your issue are the rights problems yeah so that's problem number one problem number two point of failure relates to the state of the art with respect to smart contract technologies and so and likely I will again am I not allowed to do that the point is like this is important so if you're wondering about why we're doing this today sorry I want to emphasize one thing the technology is in a sense not the barrier here no could do this in a motherfucking spreadsheet so let's look at the actual barrier yes that's right the actual barrier is the failure to understand that music copyright law is really really hard and complex and is is and it's been statutorily designed to make it almost impossible for startups to access that's the point of failure right I mean what the Clarks whatever law sufficient technologies and distinct from magic right will no blockchain has adopted when people stop saying the word blockchain nobody says TCP IP I don't care what technology means I genuinely am different to that right so but speaking of the technology the second point of failure relates to the current state of the art the smart contracts right smart contracts work exceedingly well for things like supply chain management and that's why people are using them for that because it's a simple if this then that routine right it's simply okay if this rule is satisfying another one will self execute going back to point one with music typically having a number of coordinate a bowl or needing coordination rights holders it's one thing if there's a controlled composition that says if somebody wants to license this work at this price and it is met blockchains all day long if on the other hand it's well you can license this work but there has to be approval from this party who also has to get approval from this party and then this party and if they say no then this and it goes right smart contracts are very binary in nature they don't do nuance well and yet and we're asking too much of them so we're asking too much of the technology and I know the art chain technology maybe better than I should I think it's phenomenal and maybe this is the thing that will allow us to to accelerate it but we all know in this room that the cost and the time to scale transactions on a blockchain right now ain't great and then trying to ask smart contracts to do something they just can't do will again cause things to break really really fast the third one in this this words me about the lines company and I talked about this earlier and that is that is network effect there's been too much hype around just the general idea of blockchain and then if you do some sort of music startup that happens to be on a blockchain and you say the word blockchain people will give a shit they do not right customers do not care customers desperately need some sort of value proposition that improves their lives without forcing them to learn new skills period full stop and unless and until we can do that there will not be adoption and we will not have two-sided markets so we'll have a bunch of crap on a blockchain that maybe it's good maybe it's bad doesn't matter people won't buy the investment community will go well blockchain was the problem no you're a bad marketer you don't understand that promoter score you don't understand all the things that needs to have to happen to shift the burden of marketing from yourself or your company to the users because you don't have a USB and all of those things have nothing to do with the technology but you can't simply rely on the technology to be your marketing tool number four this is controversial this is George speaking for George and not George speaking for open music initiative it's a wonder they let me out of the house point number four you must assume evil with respect to the major labels and publishers maybe they will be nice and good in 30 years in the music industry I have never seen that happen they do not cut off the branch of the tree upon which they sit however they are not done they like their systems the way it is but they also get upward pressure from technology etc too often they will do things that's known in the business world is sandbag which means I'll say sure company XYZ we'd love to do a blockchain technology project with you company XYZ goes oh this is great they release press releases and all this and that the other thing company X blockchain partners with company Y incumbent company Y incumbent sets it up for failure company Y incumbent gets to them in good faith or in good perception of faith say we tried it didn't work think about over and over and over again so these are my little cautionary tales obviously they're not universal obviously there are there are elements in each one of them it can be massaged and maybe work to your your benefit but in looking at these things and I've done more of these things and I care to know I see in each of them these the same kind of potential points of failure not understanding the fundamental elements of copyright relying too much on unlicensable work so you can't get a data set over expectation of the technology generally smart contracts specifically this will change thinking that that you can somehow magically create a market just because you're using the word network blockchain in other words forgetting network effect and number four assuming anything other than evil with strategic partnerships at the incumbent company super fantastic so that that I'm very very glad that we got that um kind of on uh recorded so that we can go back and actually really think about this and make this part of our uh make this part of our portfolio part of our agenda but first things first um let's now have a want to get a kind of a better background screen going here we can figure out my password for where I just did some people some human faculty and we're like looking at like the slight glare behind me and uh that's the good hack


Hello and welcome back to another lesson. Now within this lesson what I want to do is to offer you another alternative story plan to memorize when it comes to creative writing and more specifically memorizing the story plan according to the following setting which is the beach. So when it comes to beaches these tend to be quite popular with creative writing and of course you can also use this setting in a really intriguing way to create a really powerful and compelling story and this is the story plan that I would suggest considering and of course remember these story plans they're fairly flexible right this is this the skeletal structure the skeletal framework however of course you can also inject your own creativity within this plan. So let's have a look at a creative writing story that you could write based on the beach setting okay so starting off at the beginning this is of course the beginning and the start of your story mountain right now of course because you're at the beach we can you can establish that you are on holiday right so you finally manage to arrive in maybe a really beautiful beach paradise let's say somewhere like Mauritius or the Maldives one of these beautiful beach destinations right so you're on holiday of course you're using lots of pathetic fallacy the sun is shining it's beaming onto this vast endless ocean it looks like this picturesque paradise right so you're on holiday at the beach paradise and you stand so it starts off with you standing by the shore by the coastline looking out in complete disbelief I can't believe I'm here I can't believe I've arrived finally in Mauritius Tanzania or a Zanzibar for instance right these beach these beautiful beach paradises right so you're standing out to the shore looking out in disbelief that is your beginning paragraph where you establish a sense of setting the weather right really nice balmy weather you can maybe inhale the salty scent of the ocean this is your beginning paragraph now in your build up you decide after looking out in disbelief and you can't quite believe your hair but you are so you decide you're going to go exploring and you walk along the coastline exploring this entire paradise right so you're looking out at the ocean and you're walking along this beautiful sandy coastline and you notice as you're walking right so maybe you can juxtapose perhaps the coastline before you and maybe it's on your right whilst perhaps on your left by the beach you notice there's a dense dark part of the island right so maybe you notice like this kind of area within the island that maybe tourists avoid people avoid which is filled with lots of palm trees it's just kind of this jungle of different trees lots of foliage on the other side of the island a little bit away from the ocean itself and from the coastline so you're curious and now this is where we go into the third problem paragraph so you're curious and so you decide to travel towards the dense jungle of trees right because you're wondering why is everybody avoiding it and you go away from the coastline so perhaps it's coastline you can hear the swishing of the ocean you can hear maybe people frolicking on the beach you go away from that and you notice that this dense place seems quite lifeless this is a good example of how your problem paragraph doesn't have to be like a really dramatic problem doesn't even have to feature a villain as such right the problem paragraph can be something that just kind of changes the tone and the atmosphere of the story so you notice that this place is lifeless in contrast to this paradise and your heart starts racing your heart starts beating as maybe you inch forward and forward as you enter this dense kind of darker part of the island okay almost if you've read a story called Lord of the Flies it's kind of a little bit like that right this juxtaposition so perhaps you can borrow a little bit of that now the resolution the fourth paragraph as you enter this dense jungle of trees right on this other side of this paradise island you notice a gigantic fallen palm tree so this huge palm tree which is fallen and perhaps it's kind of split in the middle almost as if it's been disemboweled right so like its bowels have all come out and it's spilled out and there's all of these insects crawling in and out of it okay so this gigantic palm tree and this is really powerful symbolism you can use because maybe the person that's reading your story can be thinking oh there's this palm tree that's fallen and it's disemboweled might it represent or foreshadow the protagonist himself maybe being attacked and then falling and being disemboweled right anyway so now in your ending paragraph you decide you've had enough okay so you've seen enough and you're kind of scared and you're a little bit creeped out so you decide you want to leave and so you turn and step right so you turn and step away but then you step on something that splinters really loudly and you hear this sound right and you can use onomatopoeia here and then you decide to look down and you realize that you have stepped on a bleached skull bleached skull means that the color has um the the skull itself this is a human skull has turned completely white so of course that ending is really ominous you have the palm tree which has fallen on its side and it seems disemboweled right symbolizing maybe somebody who's been killed right and they've fallen and they're now kind of disemboweled everything has spilled everywhere but then now the ending paragraph where you've got this skull that you've stepped on there's kind of this juxtaposition and this contrast between this beautiful opening beach paradise versus this really dark scary ending so that's really it when it comes to an idea that you could use and really develop a really powerful story based on a beach setting


So let's take a look at one of the uses for continued fractions and we can use them to find numerical solutions to equations that might be difficult to solve otherwise. And this is a method that's due to Lagrange and 18th century French mathematician. So intuitively what we're going to do is we're going to find a continued fraction expansion for a solution to our equation. So we're going to do this as follows. Alpha is the solution to some equation f of x equals zero. And so by trial and error what we're going to do is we're going to find consecutive whole numbers that trap a solution to the equation. And notice that if we do this we have actually the first step in our continued fraction expansion of alpha. We found the greatest integer less than alpha. Well we'll let alpha be a one plus one over something and then we'll substitute this into our original equation. And that'll give us a new equation in a new variable and we'll repeat. We'll find two consecutive whole numbers that trap our solution and again that's going to give us another integer plus a leftover portion. And we'll repeat this for as long as we care to. For example let's find the first three convergence in the continued fraction expansion of a quadratic equation. And so I'll note that there is a solution in the interval between nine and ten because if I substitute in nine I get something less than zero. If I substitute in ten I get something that's greater than zero and I don't really care what it is. The intermediate value theorem guarantees that there is a solution in this interval. I'll let x equal nine that's my integer part plus some fractional amount. And if I substitute and expand and collect and simplify I get this as my new equation. Now once again I'm going to look for where I might find an integer solution. And so I find that if y is one the value of this expression is less than zero. If y is two the value is greater than zero so I know that y is one plus something. And anything you do once you can do any number of times. So I'll substitute y equals one plus one over z into my equation and after all the dust settles I get a new equation. And once again I'm going to let y be one plus one over z. And so again I'll check out some different values for z. And again it turns out that I have a solution someplace between one and two. So let z equal one plus one over w. I'll substitute it in and at this point I'll stop. So what do I have? I have x equals nine plus one over y. y is one plus one over z. y is one plus one over w. And there is the beginning of my continued fraction expansion of the solution. And if I want to find the numerical value of the solution I can just read off the convergence. So my first convergent just nine. My second convergent nine plus one over one. My third convergent nine plus one over one plus one over one. Nine and a half and so on. So what this tells me is that these are successively better approximations to a positive solution of this original equation and I know that the solution is in between these two values between ten and nine and a half because two successive convergence always trap the actual real number. What if I have a cubic equation? So let's try that again. By trial and error I find that there is a solution to this equation someplace between three and four. So I'll let x be three plus one over y. And I'll substitute that into my equation and after all the dust settles I get a new equation. And again by trial and error I find that there's a solution to this equation someplace between nineteen and twenty. So I'll let y equal nineteen plus one over z. I'll substitute that in and after all the dust settles I get a new equation. And again by trial and error I find that the solution z exists between seven and eight. So I'll let z be seven plus one over w. And I can continue this for as far as I care to. In this particular case I only care to find the first three terms of the continued fraction expansion. So I can form that as follows. I know that x is three plus one over y. y is nineteen plus one over z. z is seven plus one over w. So taking that into account x is three plus one over y. y is nineteen plus one over z. And z is seven plus one over w. And so my continued fraction expansion is going to look like this. And if I want to find the actual numerical values I'll take a look at the convergence. So the convergence are going to be three. Three and one-nineteenth. And we have to do a little bit of arithmetic here. Seven one-hundred thirty-fourths. And it's worth noting that that last convergent three and seven one-hundred thirty-fourths gives us a value of this expression that's very, very close to zero. So three and seven thirty-fourths is very close to the actual solution to this problem.


And despite the loss, the Beavers are still WCHA regular season champs. Today they celebrated their first ever WCHA title with their fans. The team hosted a meet and greet for the fans to view and take pictures with them and the McNaughton Cup earlier this afternoon. It's all about history and this is another part of history for Bemidji State and I'm really proud of the guys for bringing this to Bemidji. Anytime you could add any piece to a legacy is awesome. That means it's just growing and we're just setting a blueprint up for the future Beavers. Winning's hard and winning regular season championship is very difficult. You have to have a lot of things going right for you. You have to be a pretty good team but you have to be lucky, you have to be healthy, you have to have good goal-tending special teams. You have to have things really work for you and for whatever reason this year things really went our way and you know but I think it's also a testament to our guys so when you win something like this you don't know when you're going to win the next one.   So you know as you can see the sport we have tonight it's pretty cool to be able to give back in a way with you know a championship of this caliber. If you've enjoyed this segment of Lakeland News please consider making a tax deductible contribution to Lakeland Public Television.


Hello and welcome to the session. In this session we are going to discuss the following question and the question says that if A is equal to matrix containing elements 1, 3, 2, 4, B equal to the matrix containing elements 2, 1, 0, minus 3 and C equal to the matrix containing elements 1, 0, minus 1, 1 show that A into BC is equal to AB into C. Let us first start with the LHS which is A into BC. This is equal to the matrix containing elements 1, 3, 2, 4 into the matrix containing elements 2, 1, 0, minus 3 into the matrix containing elements 1, 0, minus 1, 1. This will be equal to matrix containing elements 1, 3, 2, 4 into a 2 by 2 matrix whose elements are the element in the first row first column is obtained by multiplying the first row of the first matrix by the first column of the second matrix that is 2 into 1 plus 0 into 0. The second element is the element in the first row second column that is 2 into minus 1 plus 0 into 1. Now the element in the second row first column is obtained on multiplying the second row of the first matrix by the first column of the second matrix that is 1 into 1 plus minus 3 into 0. Similarly the element in the second row second column will be 1 into minus 1 plus minus 3 into 1. This will be equal to matrix containing elements 1, 3, 2, 4 into the matrix containing elements 2 plus 0, 1 minus 0, minus 2 plus 0 and minus 1, minus 3 which is equal to the matrix containing elements 1, 3, 2, 4 into the matrix containing elements 2, 1, minus 2, minus 4. Now again when we multiply these two matrices we obtain a 2 by 2 matrix whose elements are the element in the first row first column is 1 into 2 plus 2 into 1. The element in the first row second column is 1 into minus 2 plus 2 into minus 4. The element in the second row first column is 3 into 2 plus 4 into 1 and the element in the second row second column is 3 into minus 2 plus 4 into minus 4. This is equal to the matrix containing elements 2 plus 2, 6 plus 4, minus 2, minus 8 and minus 6, minus 16 which is equal to the matrix containing elements 4, 10, minus 10 and minus 22. Now let us find the RHS which is AB into C. This is equal to the matrix containing elements 1, 3, 2, 4 into the matrix containing elements 2, 1, 0, minus 3 into the matrix containing elements 1, 0, minus 1, 1. The product of the matrices A and B will be a 2 by 2 matrix whose elements are the element in the first row first column is 1 into 2 plus 2 into 1. The element in the first row second column is 1 into 0 plus 2 into minus 3. The element in the second row first column is 3 into 2 plus 4 into 1 and the element in the second row second column is 3 into 0 plus 4 into minus 3 into the matrix containing elements 1, 0, minus 1, 1. This is equal to the matrix containing elements 2 plus 2, 6 plus 4, 0 minus 6 and 0 minus 12 into the matrix containing elements 1, 0, minus 1, 1. This is equal to the matrix containing elements 4, 10, minus 6, minus 12 into the matrix containing elements 1, 0, minus 1, 1. Now again the product of these two matrices is a matrix of order 2 by 2 whose elements are the element in the first row first column is 4 into 1 plus minus 6 into 0. The element in the first row second column is 4 into minus 1 plus minus 6 into 1. The element in the second row first column is 10 into 1 plus minus 12 into 0 and the element in the second row second column is 10 into minus 1 plus minus 12 into 1. This is equal to the matrix containing elements 4, 10, minus 10, minus 22. So, here we can see that the matrices obtained in the LHS and the RHS is the same. So, LHS is equal to RHS. This implies A into B, C is equal to AB into C. This completes our session. Hope you enjoyed the session.