What's going on everyone? Sam here with late in sports cards. We are ripping 23 Bowman Chrome University Football breakers delight and hobby six box mixture number three pick your letter style do a quick Just read off our list of our names in our letters And actually this is number four. I forgot to switch it number four pick your letter style Alexandros S with J Brandon L F and Q Brian S with D Brian F with L and P got Christopher C with R David C with K Edward P and an ex Joseph M with a Kyle Are we're Austin S with T? Lane K with H and W mark S G and O miles B with C Shane C E Steppen P with S Steve C with M and Tom B with P with B Tom B with B. Yes. All right, so good luck here, everybody Let's do it Start with hobby start with hobby. Which one did you grab shot Chris wants to know what flavor? Sweet sticky nice Travis Hunter first. There's Malik neighbors. Nice first base auto for the M-spot. I'll get that'll play right there That will play. I took the sweet sticky one Chris There's unexpected the lights of Jordan Travis Chandler Morris Yeah, I'm in on that. I'm in on that Raelyn Allen for B. Jatavion Sanders I'm definitely in on a sweet barbecue sauce I'm with you there blue Tyler Buckner to 1 at 99 Kool-Aid McKinnish tree Justice Haines after what?  Yeah, that's the mark Drake May first Not as well how long of a drive is it three and a half. Yeah, maybe just go crash when you get there Yeah Yeah Winston right to 99 plus you'll be exhausted at that point if you have to wake up at 9 That makes sense. Yeah. Oh Yeah Absolutely grim camp camper. We'll break it either way whether it put yards in it or not We're not gonna talk about it six No Whittington Tyler Buckner Nope No, we're not Quinchon Judd Kiddens Jalen Burger There you go. That was easy Miles Davis and Bucky Irving what's going on brother Six didn't you do really well with this stuff last year out of retail early risers Drake May I'm in Jackson Harrison Jr Big kahuna auto go to M Congrats Steve C big time arguably the best prospect in this of coming draft Absolute beast Marvin Harrison Jr. Let's go dude. Jury on Dickey Xavier Worthy Brady Cook That's that's big dude big time big time Caleb Williams Jordan Whittington will have a smart inherent see that's what I said all out of blasters. I told you Six did well will Roger cuz I was saying I was like I want to buy a box at some point I don't know if I wanted retail or not. I was like I remember six said he did really well and In retail Kyle Mononga and Corey Foreman Xavier Worthy Yeah, it's pretty good. He was Drake May was it? Yeah, he drank may auto I think Right Sab that Kyle had a drink may auto or is that numbered? What's it just numbered for? Rashad do man on to leak Williams Jayden Ott first Jim Griffin Purple Mason Taylor to 399 Quinston Judkins Wasn't impressed really Oh Yes, it was auto so that's what I'm saying man Yeah couple of Drake may I Yeah, oh, yeah, the edges are always an issue on that one Yeah, we put sleeves we put them in in sleeves into the one touch Marvin Harrison Jr. Kyle McCord so you can see it right there We buy the mags that you could fit one like sleeves into you can't really see it. Yeah Yeah, there you go. You can see it there. That's like the edge of the sleeve Yeah, we buy special special mags for that So we put the sleeve over it and then we put it into the mag and it's more protected that way So won't scratch the surface or anything Hey Toby Gerhardt no Toby Gerhardt. Unfortunately, I think we're gonna pull a Lendell white though fucky Irving to 299 Drew Aller Solomon De Shields X-Fractor Jalen Daniels It's Caleb Williams awesome Jones Moore's mutual insurance we expect the unexpected the lights Mario Williams Jackson Arnold and Jalen right Yeah, I have I have all the quarterbacks with live autos Comps are kind of wild Miles Davis first refractor Ease what's wow?  Yeah, it's not bad. They're six Hi, Simpson. There it is pro safe right there is Elijah Badger to 399 triple mini diamonds Tyler Buckner 299 for the teespot the Alabama. What is he a QB? Nice one there think they're Todd picking up the Raiders in a NT case Casey Thompson again guys tomorrow You have mr. Forrest and Jake. That's a lot lobby. Oh, man Manual Henderson jade and Daniels the 499 on the J spot refractor first auto Honestly Kid club Nick. Yeah a lot of Bama Cube. There's like three of them in this one Full stein I don't think I don't think six. I don't think we're good. I don't think it's gonna get that drastic a steam a blade Corum Lorenzo Booker that's dolphin legend Lorenzo Booker gold Christopher Vazina to 50 nice one there for Clemson in the C spot Buckner will never see the field at Bama again. Yeah, probably not Leak neighbors first refractor AJ Swan. I don't use that good Purple shimmer of Jordan Travis. Did you just stink John? Yeah, well, I kind of loved Matt Cannon until we lost Matt Marvin Harrison, Jr Martianne Lloyd and Caleb Williams, I don't know. He's got to have some dirt on the owner or something I don't know what it's all about James Williams Paris Jones Powers and Jackson Arnold was absolutely terrible.  Yeah, Tim Tebow would be dope I was saying that earlier like Case Keenum at Houston. Yeah, Matt liner any of the any of the USC guy would be fine with me early risers Jordan Travis Reggie Bush Matt liner Lendell white any of the any of those guys Chris Hilton 275 Travis Hunter and Caleb Williams. Did you do like a retro one? Yeah, why not I'll just throw Jeff Samarjian there. Why not? Drake may and Drake may again It's will Howard X factor Paris Jones Cubs legend. Yeah Cubs legend A's legend Giants legend white socks legend Lake Corum Dorian singer. It's all over the place man Hi from Duck Dynasty for LCU Confident yet, I'd be kind of funny actually X factor Evan Stewart and Michael Pennecks Jr. Uh-oh Presley just hurt himself. That's not good for Houston. He did Fell off the mound Christopher of Azina. Look at this crash. I was just back up unbelievable when shot Johnson Solomon Dishield My cats, dude Uh Dante more to 499 refractor first auto for the d-spot Gretz and UCLA Walker Howard refractor Austin Jones Purple Eli Holstein to 399 Tyler Buckner and bonex Josh Downs from UNC. I thought he's in the NFL already. It's on the Colts, right? Williams. Nice one there for Ohio State First base auto Jonathan L with the twins in bowman chrome choice case. Oh Gotcha, gotcha Victor Rosa Brian Thomas senior and base Yeah, I think he's in last year because he's a rookie this year to take it on Sanders to 399 He's in all these products and everything. Yeah, oh Dude his sweeping curve is one of the best in the end the MLB make singleton His sweeping curve is disgusting Dominic love it whenever he has a good card in MLB the show I always pick him up because his sweeping curve. Look at that thing, dude. It's unhittable Robbie Ashford Casey Thompson rambling man Xavier Worthy Michael Hall, Jr. Will Johnson It would be They don't score a run Yeah, Kobe Prentice Tyler Newman Elijah Badger and Blake Corum. Yeah. Yeah, we're good Yeah, no, we're good. Again here is fanatics live Wow, jeez, yeah, well, I think that I think even Sean can get behind that Dorsanders, what do you say? Pucky Irving Austin Jones Chris Hilton, Jr. Jeremiah Hunter Drake Bay first refracted shock of Elijah Badger Will Shepard to 399 nice one here to 299 is Drake or 399 Drake Bay on the purple For the d-spot and we've got for the J-spot is Juarez Jordan to 199 God refractor rookie auto is jury on Dickey to 499 refractor first the J-spot nice one here for the O-spot is Olu Pashanu one of the best prospects in this entire next draft here What don't don't say anything to that What do you do? Look you looked at a pumps fastball and what just started chirping at the umpire Dante Moore Moore's mutual insurance we expect the unexpected. Yeah, we hit a chador last last break actually we had a Cameron Kinshens Richard Reese Jalen Wright Jevon Bullard and 20 Williams or in shock Robbie Ashford. Yeah, we had an auto I'm gonna get an umpire for the breaking studio We're gonna get thrown out at like 10 minutes in every single time for us the 25 nice one there every single time We're getting tossed Kendall Milton to 150 nice one here to 199 is Caleb Williams Congrats on that there Seespa a Brendan Sullivan. Let's go to 299 First auto is gonna be for the e-spot Emmett Moorhead nice one there refractor for Boston College and the like I said the e-spot Yeah, the back you just put it on man and Devin Leary go to the d-spot for Kentucky Massive show this weekend. Let's go. Come on six. Let's go, baby computerize the break studio strike zone Yeah, dude Sean would eject everybody if he was in them Okay, club Nick who would get tossed first Jake then Couple I'm shocked. I've not been there on this list yet. Oh, I actually Out the door for Nick Singleton K club Nick Elijah Badger to Kobe Winman that's Brady Cook for the b-spot to 20 at 5 Of course, did you know that Michael Jackson was the voice of Simba? Oh my god, dude I had Jake screen record he clipped it and screen recorded it for me Oh, look for shot him nice one there to 399 Kyle Manon guy to it's 399 for a ruckus in the k-spot That is a Jason Marshall to 299 Get your calls right. Maybe I won't argue Come on, baby. Let's go Travis Hunter base auto for the t-spot Let's go dude. He is there. He is I Think that is a little schmack on the top there Send an empty box and wrapper with the t-spot looks like it come off though. We'll get that magged nice one there congrats to tea I'm sort of schmack on that, but it looks like it could be clean for sure But thanks Michael not feeding lions in cage. It would think Michael Jackson voices Simba Hey And then Blake Corum the 499 go to the b-spot nice one there Blake Corum All right Quick recap erronee Emmett Moorhead Devin Leary jury on Dickie Olufashanu Mayan Williams Dante Moore Jalen Daniels Tyler Buckner Malik neighbors Yeah, you're good. I got you gonna come one more auto coming up to and it's gonna be a Blake Corum And we've got Travis hunter on the base auto and then a big kahuna to 99 or 250 at Marvin Harrison, Jr That looks like a little ink spec. I'm gonna send an empty box and wrapper just to be safe with the m-spot as well So thank you guys again for the fill coming up next. We've got full case of hobby


What's it going to be like ten years from now and what role do you have in that becoming?  What ten years from now, you all know was so necessary for the integration? Boom what's up everyone, welcome to Simulation, I'm your host Alan Sokian. We are still at Consciousness Hacking's Awaken Future Summit. We are now going to be talking to Robin Arnaud. Hello. Hi. Thank you so much for coming on the show. Pleasure to be here. Thank you. Very pumped. You are the CEO of Andromeda Entertainment, which does video games for transformation. And go ahead and teach us about who you are and what you represent. Oh sure, who teach you about who I am and what I represent. Boy, that's a big one, I'll keep it straight. So I've been a video game designer for the last ten years or so. I've been deeply in the independent video games world, so I worked on the game Anti-Chamber, Stanley Parable as a sound designer, and what I loved about being a sound designer was we're visual thinkers, which means that musicians and sound designers can sneak right past the part of you that thinks and kind of grab you by the back of your mind. And I loved, back when I was doing sound design for video games, I loved how I could just warp a person's reality and help them feel different or more or whatever. So that was kind of the beginning of my career in experiences. And after my first oneness experience, a game design flashed into my head, which became sound self. And after years of developing sound self, I am meeting the most incredible people because you can feel very alone or I felt very alone for a long time, you know, making this piece of, this interactive experience that was designed directly to shift your state of consciousness. And I was surrounded by brilliant people.  I don't know if you're a gamer, but just like... Yeah, independent game scene is... It's on fire. It's been on fire for about a decade. And those are my friends, you know, so I've had the incredible privilege of being surrounded by a huge amount of artistic genius. And but I was trying to do something different, you know, I wasn't trying to tell a story. I wasn't trying to provoke an emotional response. I wasn't trying to stimulate any sort of mental response. I was trying to bypass all of that and help, use a video game to help a person feel what they are. And as I started doing that, at first feeling very alone, I started encountering more and more people thinking about not just game design, but music and art in general in this transformative way. I think many of us inspired by psychedelics, since here at the Wacom Future Summit. I think many of us inspired by meditation, which has downright become mainstream in the last 10 years. It wasn't 10 years ago. Think about that. And I was frustrated because I realized I needed a big brother. I needed a company that could help bring sound self to market, given that sound self was so different from what people expect from video games. It needed a very different treatment. And as with the origin story of so many companies, just that not being out there, there was an opportunity to step up and create it. And so I took a break from developing sound self for about a year to instead develop the business entity that could help projects like sound self get out into the market. So sound self's our second game. We were also working on a dance experience. That's our first game, which is audio trip. And we're working on finding the next tier of titles for us to work with to help flesh out the transformational experience market. Because once you've had an experience that shakes you out of your narrative, there's nothing like it. I don't see people wanting to go back to distraction experiences or what happened, even the most beautiful distraction experiences. Like you know this. Once you start meditating or taking psychedelics or so on, it is a spiritual path and you get onto the spiritual path. And I don't know anybody who gets onto that path and then gets bored of it, right? So I think that this is going to be a tremendously potent market. And we're just seeing the beginnings of it right now. Dan, I want you to speak to how when we are involved in a video game that there's so many pieces to the video game that we're typically not very aware of. And similar to when we dine at a restaurant and that we're not usually getting behind the eyes of the chef and the busser and the waiters and waitresses. Very intentionally. So the more that we can intentionally understand the puzzle pieces of the video game designers and developers, the audio engineers, all that type of stuff, the more we can potentially have a better understanding of exactly what the intention of even the game is. And so why don't you teach us about that first. There's so many cool things that you said and we'll try and break them down as you go. But that first part, your awareness has been expanded to the point where you know that with audio, you can potentially bypass some of the initial processing that we have when we're playing a game and you can transform people's state to speak to that a little bit. Sure. Let me find it. Musicians know this. Politicians know this. Anybody who, so we have a mind, of course, and can I just assume your audience understands the difference between who they are in the mind or should I explain that a little bit? Explain that a little bit. OK, so we have our mind which creates differences between things and says this is this and that is that and here's how I relate to this and here's how I relate to that and here's how these things relate to each other and creates these really beautiful, intricate maps. And so many of us are identified with the mind and we don't realize until our mind stops for a moment that that's not what we are, that we're something much, much bigger. I don't know to what degree that is cultural versus to what degree it's developmental, but it's there. What is that that you're referencing that's bigger than the mind? Oh man, you know, it has, well the mind is the thing that does the naming. So the thing that's bigger than the thing that does the naming can't be named, although we try to name it. Is that the unity or the God? God, source, unity, those are great names. I like silly names as well. I used to just call it Dr. Banana Hat because it's totally ridiculous. But it's just, you know, silence, or you can kind of describe these things, but you're not describing, there's the, I forget the neti neti meditation or not that, not that, not that, because of course as soon as you, ah, it's silence, but it's also the, you know, there's no, unfortunately I can't, there are people who do an incredible job pointing at the stillness, and sometimes I can do that, but most of the time not, so, but I can speak to, once we begin to recognize we're more than the mind, and recognize everyone else is more than the mind, then we realize we don't have to interface mind to mind anymore. How do we interface then? Soul to soul, or we just, I mean, even emotionally, when we're relating to one another on an emotional level, that transcends our words, you know. Through things like the eye gazing. Yeah, the things like eye gazing, we're just sharing presence with one another. Sharing presence without words. Yeah, without being, just being in silence with one another. Yeah, with another, yeah, yeah. Listening to music together, we get, we get taking on a journey together, as you and I did at Journey This Morning, there, East Forested. As a designer, if we think about how we relate to a person's mind, we're really limited in how we can affect them, and not only that, but we are necessarily interfacing with the gatekeeper to that person's experience. And there's some merit to that, because if I want to convince you of something, you can make an argument that it's ethical to go through the mind, because maybe it's not ethical for me to bypass your rational systems and just plant an idea emotionally, although there are people who can do that. But when you're trying to give somebody a transformative experience, the gatekeeper is a nuisance. And those of us working in media, in video games or music, the gatekeeper is, you know, if you're listening to a piece of music, I don't know, I can feel my gatekeeper on when a piece of music is playing. Sometimes, if I'm getting critical about a piece of music, or if I'm like, what did the music do?  And it's the same when you're watching a movie, playing a video game, listening, oh, here's a great example, like listening to, for those in your audience who are religious, or, you know, that's something we lose in the secular world, is the sermon. The sermon is spoken word that passes through, or around the mind, and into something about the soul that just recognizes what's being said. Yeah. Okay, okay. The word gatekeeper is so funny. Yeah, because it's almost as though the ability for us to work, build a stronger communion with the gatekeeper, a stronger relationship with it. Because we don't necessarily want a, potentially, a gatekeeper that is too vigilant, a gatekeeper that's too loose. Yeah, the gatekeeper serves a purpose. It serves a purpose for identifying what's salient and pursuing that, maybe. This is trust who not trusts. Trust, trust, not trust. There's so much, so many things here. But I want, you're starting to hint at this. How does one then figure out how to embed something like a music that can get passed like a sermon, like you said? Yeah. I'd love that question. I'll do my best to answer you. But to me, it's, so here's why I like working with artists. I like working with artists because artists, the good artists, are always creating from a place of inspiration.  They're just moving through them. So there's a kind of divine inspiration that happens and moves through the skill of the artist to create something. So it's not created by the mind, although the mind can be enlisted as a servant in the creation of it. It's creating something like, we've noticed that 20 to 24-year-old males are looking for things that are like call of duty, but like this. And so we're going to create a, going from either market strategy or from science or from any of these things and coming down, like using the design process to answer a question instead of using the design process, divine process, did you hear me skip? Yeah. Using the design process to kind of work on an inquiry or something like that, there are very different ways of approaching things. I forget your question now. You described this as a channeling through one into the world versus a. Well, remind me of your question. The question is that there's potentially a process that has yet to be identified while that can do that whole bypass in Gatekeeper. Yeah, I remember that. OK, so it is, it's a subtle and kind of mysterious process, but I'll do my best to describe it. It has something to do with, so each of us in our core, as I meet you, as we meet each other through our eyes and through that, through our identities, and as I'm speaking to you, mind to mind, Gatekeeper to Gatekeeper, we're meeting the place where we're separate where we're different, which means that this is a really great and exciting place to communicate ideas, because when you feel the difference between ideas and you feel that tension that's exciting. But there's another way in, which is instead of, if I feel deep into myself and feel that which is channeling through, it's something that comes from a more universal place. And so there's a way that if I put my mental capacities in service to that or my skill in service to that, I'm executing something and creating something which is from a place that's more expansive and more wise than the mind is. That is more recognizable and more intimate, even. So one could say that there are the minds that are here together, and then there's the. I think mind is necessarily oppositional. Oh, is necessary? I think it is. I'm just, I'm just, I've not thought about that before, but that's just good. Yeah, yeah. But then there's all the potential of a deeper, from some sort of a spiritual, emotional, transcendent vibe between the, between people that if you can potentially relay a message from that area to the others, area like that. And for, well, while we're all habitually identified with the mind, what that means doing is attending to the mode of inspiration and serving that. And attending to intuition as it arises and serving that, especially when, I was about to say even when, but actually especially when it doesn't make sense and especially when you don't understand it. And then you've turned your mind into something that is in service of, I've run out of words, but in service of the mystery or in service of, of that which wants to happen, that can't be articulated with the limited mind, something like that. So then, okay, delivering music from soul to souls, yeah. Music or art or design, yeah, from soul to souls, that's good. Okay, so then teach us, so now this is what you're fascinated with. Yeah. And you're actually, so is this right that Andromeda Entertainment is making it easier for people to do this process? Well, we're a publishing company or an agency. So we're connecting with the artists that are working in this space and by this space, I mean transformative interactive art and connecting those into the emerging market for those experiences. So like Burning Man has been such a cultural sensation this last 20, 30 years and has had a huge impact on our culture and I see so many industries emerging that are inspired by Burning Man or by just this raw kind of sensational experience, sensational, sensational with the senses. So cannabis lounges, whatever the modern church is, whatever the place we come together to worship and be in and relate to spirit and community, whatever that is and that's something that's just kind of emerging. So whatever that is, I want to connect these artists, including myself with sound self, but not just me, to that and use these things together to kind of help it come into being. Okay, yes, yes. Okay, so walk us through examples of, even before we get to people that you engage with through Andromeda to do the next gen of interactive art for the soul to soul. Let's talk about sound self, let's talk about what you've built in this space. Yeah, great, thank you. Sound self came to me. I had my first oneness experience on LSD, which was a little bit of a shocker as it tends to be. So it's like, oh, I didn't know that. That's interesting. I don't know what to do with this information. I set the mind afterwards. But it was sometime after that, when I was just pondering a sort of game design space I'd been thinking about when my oneness experience came to me and I realized it didn't just happen. I'd kind of follow the path into it. And for me, that path had a lot to do with voice because I was on LSD, and I was in a space at Burning Man and began toning just to feel myself grounded. And as I began toning the music in that very moment filled with voices that happened to harmonize with my voice. And in that moment for the first time I felt with such clarity that I'm not just this voice or just this body. And I felt the sense of agency that I usually identify with and that seems to be kind of the core of causation in my being as just like one other thing that's happening. But that was a path that I kind of was led down or walked down. And that path could be, I could create a design, a system that would walk other people down that path. And for me it was voice. And so it is with sound self. Sound self starts with your voice. And you use your voice in long tones. Like, aw. As you tone just the world shifts and dance and moves around you, you feel it responding to you. And it starts harmonizing with you and as well it's flashing at you. So I'm giving you all these abstract geometries. So you can't, your mind has nothing to settle on. And you're constantly toning which slows your breathing down. And by the way everything, all my explanation for why it works are things that came years afterwards. Because it came to me as an inspiration, you know? That's just like this. Right, and so this is what I mean. Like the correct way it has to come from inspiration and then if you want to figure out, you can't start with why. Or I think it's that's the incorrect order of operations. It's to start from why and then build inspiration. You have to start with the inspiration and then you can figure out why later on. I think that's how good art is made.  So as you're doing that, as you're toning and the voice is in this really precious place where it's embodied and you feel it but it's also out here and you hear it. So it's already on the boundary between where you perceive self and other to be. And we see the world respond to our voice and with our voice all the time. So there's already something magic in voice. It's just we're so used to it that we don't pay attention to it. But once you change the context a little bit and overwhelm the senses, suddenly you notice something you didn't before. And in this iteration of the software you notice it in a way that that's not like, like a psychedelic can be. Like my psychedelic, the first one this experience was it was very much a revelation, wow. And then closing down and integration. This one's more, it's more subtle, you know? But it is authentically doing what Academy does or what LSD does or even what DMT does. Not in the same way. But it is bringing the mind into silence so that awareness can feel what it is. And through my long, I'm bringing my mind into silence. It's partly that and it's also partly the visual stimulation and it's also partly the. This is very important. You said that there's no, it's abstract. Totally abstract. Geometrical shapes which make it so that the mind can't say square, circle, triangle. I can't label it. Exactly. Because that's what mind does, mind labels. When you give the mind something, like it's faith in nothing you're to label and it's changing too fast to label. It's changing too fast. And so my, ah oh, my changes cause the abstract geometry to change as well. So then I'm, this game is played in a virtual. In a virtual reality. In a virtual reality space. And then available across. It will be, yeah. It'll be available on Oculus and on Vive and on PS4, PSVR. And we're working on other implementations of it. Because I think like these sorts of transformative technologies, the place to experience them is not going to be necessarily just in the living room. It's going to be in community together or in cannabis lounges or something, you know? The most magical places to experience these are. Then we can somehow build a ritual around them. So I'm thinking beyond sound self and into this as a whole genre. They're hungry for more than just like the casual engagement of a video game. They're hungry to be treated as ceremony. Which, and then what's the economic infrastructure of that ceremony look like? I don't know the answers. But I'm paying close attention. Okay, so then your career in the last 10 years of doing things like video game design and audio engineering is synthesizing its way into deeper spiritual practice. And you want to deliver the spiritual practice to others through the mediums which you've gained experience in your 10 years.  Okay, and sound self was the first or was there one you said before? Sound self was my, is an experience I've been designing for eight years, but as a publisher in drama and entertainment, it's our second title. Is there a second title? Yeah. Okay, and the first title again was? It's called Audio Trip and it's a dance experience. Audio Trip dance experience, okay. Okay, and in this one they are an audio trip?  It's less psychedelically inclined and it's more just about getting into your body and feeling alive and feeling in flow. Yeah, that's great. Yeah, just always. There's so many ways that video games can be used to bring people up to life. There's so many ways that we can like harmonize with the human experience to produce something that's really deep and really, it just helps us feel ourselves in a way that is just so much more present and so much more like, gosh, I don't even have the words for it, you know? I think the standard use of video games is to distract us or to entertain us and by entertain, I mean like help us not feel as much pain for the moment numb us a little bit, but it's just a tool. It doesn't have to be used that way. It can absolutely be used to help you feel more real. And film can too, social media. Film can too, social media can do, but God, social media has a long way to climb together. A long way to climb, yeah, yeah. Yeah, interesting, so the identifying, this is cool, identifying video games as a tool that can be used to do things like send a deep love ball into someone else's soul. That's really good way of putting it. Sounds awesome. Okay, so now, when are we thinking in a couple of months or so for SoundSelf? Yeah, before the end of the year. Okay, so before the end of the year and where can people stay up to date on what? You can check out our Facebook, which is, you just look up SoundSelf on Facebook. Look up SoundSelf on Facebook. On Instagram, if you follow Andromeda, I think Instagram is Enter Andromeda. Enter Andromeda on Instagram, okay. Oh, we're on Twitter, which is at SoundSelf, or I'm on Twitter, is that video dreaming, though I don't tweet very much anymore. At SoundSelf, on Twitter, and your video dreaming. Okay, so this is how people can keep in up to date with where you guys are at. The sounds, I want to do the, I want to do that. You can on Sunday, your listeners can't necessarily, maybe they can, but in a different context, but we're having a party on Sunday at the end of this, that I'd love for you to attend and get to try this experience. Thank you, thank you, nice. Yeah. Nice. So, okay, so now, where are we heading with the leveraging the medium for these spiritual love balls? What are, how, yeah, teach us about how we're gonna use video game and music to do this. And virtual reality. Mm-hmm. How we're going to use video games and music. It's, so with any of these things, the tool is there. I think this is true not only of any of the arts, but any place you have a skill or an expertise, if you redirect that skill or expertise towards mystery, then it suddenly becomes something sacred. And I've been, as a first time entrepreneur, I've been finding that to be the case with business. That's hugely. But with video games, honestly, all it is, is having a spiritual practice.   I mean, I could, but I don't think that's really, then you'll just learn how to make something that is like really the truest thing always comes from inside and from inside ourselves. And there might be something to learn by studying my work, but I really think that the truest thing is it comes from having a relationship with reality that is devotional. And having that be the totality of one's life.  That's just what the creation process will be. It will be a channeling process. You won't always understand it. In fact, the moment you understand it is the moment you lost the edge. Which is fine, we need to do that to integrate. We need to channel for a little bit, then integrate. Then channel, then integrate. That's right, you can't be tripping all the time. People who are beyond certain stages of enlightenment don't necessarily hold jobs very well. But the point is if you live in a devotional manner, your work will become devotional. It almost can't not. But it requires so much bravery and the willingness just to, it's both easy and so difficult, right? And like you said, you have to do things like have the creative process be channeled through you and then find a way to take yourself from the edge, maybe do a little bit of integration of it, back to the edge. This is a very delicate process of edge work plus integration. Shadow work, integration, surrender, everything. So I'll speak about the artistic creation process. You think we're gonna experience all of this with video game music? With anything? Virtual reality, yeah. With absolutely anything that you have as a practice. And then anything created from that place is going to aid other people on their journey as well. We listened to East Forest this morning and that's music that is absolutely created from a devotional practice. And it helps you and it helps me touch something deep in ourselves and then touch the places we have resistance to that depth. So yeah, that's just what I say.  It might not be in the way that your mind would want it to catch fire, but there's something that's trying to happen here and we don't understand it. And the push to the unboundless love, the push there that we're trying to understand. I don't know. It feels like that's kind of what's happening, the push towards unity and that. That seems to be something that's happening, yeah. But I'm not sure. I even think that whatever that which is trying to happen is, you know, this is just what it looks like to me, is unity is an aspect of that. But so is our separateness. Yeah, totally. And so is. Correct, yeah. It's an awakening in general. Maybe one can say that that's the core.  And if we bring our work into harmony with it, then the meaning of work is different and the meaning of our output is different and we've gotten a little. This is fantastic though, this is too good though. It's so good. Yeah, the meaning of our output is different, our lives are different. This could be true if you're a banker, or an accountant, or a maid, or like it's not, in the arts it's very clear and very obvious because art that doesn't come from that place is ugly. And you can make a living as a banker without coming from, you know what I mean? But this thing that I'm saying is true of any practice. Yeah, of any practice. So that if we walk away from our most divine, actualized path, if we don't let it channel through us, then it can get sometimes ugly. But now, we could stay on that topic, that topic's so. Yeah, yeah. How does Andromeda Entertainment then work with all of these indie creators that you were talking about earlier in order to help them with this push towards that uni, towards whatever's coming through us in the video games, music. Sure, I don't think I can creatively coach people. I think for that part, I have to find the people who are already making something that's really in alignment with this. And then there's just an intuitive practice, an intuitive process of seeing like, how do we wanna work together? What's emerging around us that needs, like let's say you're an artist that I wanna work with. I'm aware of this opportunity, this opportunity, this opportunity, this distribution model, this thing that's coming up a few years because it's like, it's my job to stay zoomed out. And if you're an artist, it's your job to stay zoomed in. And so when we come together, and when we feel that alignment, then, well, practically speaking, there's funding, there's distribution through mainstream outlets like Steam or The Oculus Store and so on, but the place I'm most excited about are these emerging places. Like I was mentioning to you, Spas, cannabis lounges, psychedelic clinics. How do any of these technologies fit into the awakening that's happening? You know, we're here at the Awakened Future Summit, which is about psychedelics. There's a lot of psychedelic therapists here. And any of these things that can be a tool for somebody's psychedelic awakening, I wanna help make that happen. I mean, art is already, without labeling it as such, we already know that art has to play a role in psychedelic ceremony. This is why we have music. This is why we have beautiful settings and so on. So what does high tech art in that space do for the psychedelic phenomenon that's happening in America today? So these are some of the spaces that I see emerging. And for the moment, it's very exploratory, excuse me, explorative and experimental, you know. And your things zoomed out to be able to watch how these are popping up and then you help. And then connect this title in this way and this title in this way and these titles together in this way and how do we, you know. And you plug the indie artists through those channels and whatnot. Exactly. Okay, cool. Yeah, cool. And the artists- It's very early, it's very early days for this. I like how you also said that the artists that you work with have to have their own actualization, their own artistic edge that they're having channeled through them and that you can then work with them. Actually, I feel like that happens a lot of the time now as we're seeing kind of a play between a mentor and a mentee. It's actually a really important phenomenon for us to continue making a priority in our lives as a mentor phenomenon. So like one could talk to you about what their passion about where they could see you fit and then you could help. That whole process is so important. It catalyzes significant success in life, the phenomenon of Bloom 2 Sigma and stuff. So, okay. So now we have this era of VR and psychedelics and meditation. It's pretty exciting, right? It's pretty cool. It's a big part of the awakening, yeah. And we're the frogs of the frying pan, right? Always we're the frogs of the frying pan, but like 10 years ago, meditation was not mainstream. Meditation was weird.  What's it gonna be like 10 years from now? And what role do you have in that becoming?  That 10 years from now you'll know was so necessary for the integration. Sorry to interrupt. That's a huge part of what we also are very passionate about and trying to inspire other people to catch on like what do you know now that in 10 years people are gonna catch on to and that it'll be really important for the overall awakening and to try and manifest that not in 10 years, but in six months or a year. Yeah, yeah. Try and manifest that. Because I think all of these things that we're doing and I don't think we know here the connections that are necessary now, but like I'm working on this piece, you know, Adam Ghazali downstairs is working on this piece. And then somebody I don't know and don't know what they're doing is working on this piece and someone's working on this piece and they're all gonna come together in some way. And it's such a, it's such a, you know, like I just have to surrender to that process and keep my eyes open and try to be as humble as possible. Yes, yes. Yeah, especially when we see young people that are smarter than we are. Oh my God, they're so smart. They're so smart. Some of them are really smart. Yeah. Yeah. Okay, a couple of thoughts that I think we should talk about on the way out. One is, are we in a simulation? Oh yeah. Are we in a simulation? So this is a simulation podcast.  Or both. Or both. Okay, so, God. I mean, okay, obviously, wait, not obviously. Actually, this is not obvious, but for anyone who's done like their work in psychedelics and meditation and so on, like this is just, it seems, we seem to understand this that, that which we think is real and that which we think we are is not, it's just like, it's just, you know, the Buddhist idea of like ripples on the surface of the water. It's there, but it's not, it's an illusion or it's a, it's just a piece of it or it's the, it's, I mean, I'm looking for the words. It's like, it's just not what it seems to be, you know? But it's not purposeless, you know? And it's not empty. And it's not, when I think of simul, okay, so here's my no. As like, when I think of simulation, simulations are always simulating something. They're always like a sort of low poly representation of something that is more real. Like a race car sim is like the simulation of driving a race car. I don't think this is a simulation of anything. I think this is something crucially important and magical and special that's happening here through us that we don't understand. But it's also not what it seems to be. Okay. And what is the most beautiful thing in the world? Oh, I have a step four year old, a step son.  And that moment in me, when my resistance to him gives way to something else. And I see the magic and I see the wisdom and I respect him as a being who is just as alive and tapped in or something, whatever, you know, just as blank as I am.  And there's so much everywhere in our world where we see conflict is like the first side of that, you know? Thanks for asking, that's a good question. It's a really good question. It's a good answer to be able to feel that and then be able to explain it, the transition that you feel and your feeling between those moments. And when I think he's a dick, I'm not thinking about the, but I'm gonna love him in a minute and see the beauty of this.  That's part of it.  And it's like, that's half the picture. Yeah, yeah. Robin, this has been a wonderful conversation. I've been enjoying it. Thank you so much for coming on the show and talking to us. Yeah, my pleasure. We're really looking forward to sound self. I want everyone to check out the links in the bio. Get checking, get more conversations rolling around our friends, families, coworkers, people online on social media, about what these things are like when we apply video games and music for transformation, VR for transformation. And check out the links below to consciousness and hacking, also to simulation, support the artists, organizations and entrepreneurs are on the world that you believe in. And go and build the future, everyone. Manifest your dreams into the world. Thank you so much for tuning in and we will see you soon. And please, I've got one more. Yes. Please be in touch if whatever you're manifesting the future is. If it's in the domain of what I've been speaking about, maybe we can manifest together. That's right. All the info is below to Robin's work. Check it out. Much love.


All these properties, there are points where the nature changes, they are called points of inflection. For example, if you look at y equal to the function x cube, how does the graph of the function x cube look like? It goes from the down, it is negative, x cube is negative on the negative side at 0 and then it starts increasing, but the nature rate it is different. It is concave down, it is concave up there and at 0 there is a tangent which is horizontal, because derivative of f of x cube is x square at x equal to 0 slope is horizontal. So, at 0 there is a tangent. So, it goes smoothly and cup, but the nature of the function on the left and on the right are totally opposite to each other, concave down to concave up. So, you say the point x is equal to 0 is a point of inflection. So, you can define in general a point of inflection to be a point where the function changes its nature from concave up to concave down or vice versa. All these are properties of the function. It helps you to draw a picture of the function. How does the function look like? So, there are examples. You can just skip those examples. The important theorems are the following. This is important that if a function is convex and you are given 3 points a, b and c. What is the first one? f b minus f of a that is the slope of the chord joining with b and a. c and a that is the chord joining c and a and this is the chord joining c with b. So, these are relation between the slopes of these 3 chords. So, let me probably draw a picture that you can see easily if this is the function and this is a and this is b and this is c. I hope that is the way it is taken a, b. So, look at this chord and look at this chord. What is the relation between these 2 slopes? Theoretically, you can just look at the slopes. Slope of a to c is more than the slope of a to b and look at this one now. At this point, this slope is and this slope, what is the relation? That is less. So, that is what this is saying that the slope between the 3 chords is as follows. One can prove it mathematically, we will not do it. As a consequence of this, one proves beautiful theorems about convex functions. Let me, it says at every point you will have a left derivative, you will have a right derivative and so on. So, there are lot of these results. So, just go through them once, read them once and forget them because I will not be asking them in the exam. But you should understand what this implies. For example, it says that plus, this is the derivative from the right side f dash plus, plus is on the right side and the left side derivative exists at every point. It is a beautiful thing. And the right derivative is always less than the left derivative. You can, because of that slopes actually, basically taking limits of them and eventually all of them lead. So, I say accept it. So, here is something interesting. A convex function is differentiable everywhere except at countably many points. It need not be increasing. It could be like in some parts increasing, some parts decreasing, but still it has that properties. It has to be, and of course, differentiable implies and it is continuous everywhere. So, very nice properties of convex functions and you may come across these kind of things in your courses in probability and statistics. So, that is why exposure is a good idea. One can state results, sufficient conditions for a function like derivative gives you the nature of the function increasing or decreasing. Similarly, nature of the second derivative gives you whether it is a convex or concave. So, essentially this is the what, if f is concave upward if and only if derivative is f dash. So, you look at the slope of x square at 0, negative becomes 0 and then start increasing. So, that is f dash is increasing. And if second derivative is here, when is second derivative? If a function has second derivative and f dash is a function which is increasing, what is the nature of the second derivative? f dash is increasing. So, what can you say about the second derivative? Just now we said, increasing derivative exists, derivative should be bigger than or equal to 0. So, say second derivative should be bigger than or equal to 0. So, that is the second derivative test for convex T and concave T. Function may not have second derivative. If it has, then that should be the property. So, that is the first derivative test and this is the second derivative test. f concave upward if and only if second derivative is bigger than or equal to 0. So, all this is because we know the function is differentiable once or twice and we know the property of the derivative or the second derivative. It gives you back the knowledge about the function. That is the important thing. So, that is convex T and concave T. Let us start looking at the, we have time. So, let us start looking at. So, in basically in one variable, what I have tried to give you a field for what is derivative? Why we consider derivative, a function of one variable? The important property of derivative is that it gives you some kind of a smoothness of the function that is saying at every point, you can draw a tangent and the derivative gives you the slope of the tangent. Derivative does not give you the tangent. Quite often, it is misunderstood and misstated that saying function is differentiable. Derivative is the tangent. Derivative is not the tangent. Derivative is the slope of the tangent at that point. Tangent is a line which you have to draw. Once you know the slope, you know the point, you know the tangent line. So, and the important algebra of differentiable functions that we just went through, assume that you have all gone through this kind of theorem before. Derivative of addition, subtraction, product rule, quotient rule, chain rule and so on. Important thing of derivative function being differentiable also is that you can approximate the values nearby with the values at that point and the derivative. That is the important way of saying what is differentiability. And then we saw that if you have, if you know what is the derivative, you know some property of it, then that gives you back some properties of the function and the main theorem is called Lagrange's mean value theorem which gives you the applications. So, let us now look at a function of several variables. F is a function defined on interval. So, let us look at domain D. We will do it in R 2. Same analysis works in R 3 and so on and R n. We have already analyzed continuity of functions of several variables in the previous lectures. And we try to look at, given this function, we, if we fix x naught and y, right. So, y going to R, you fix for fixed x naught and x going to f of x, y naught, fix y naught. So, they were the coordinate functions, right. So, a function of two variables, once you fix all but one coordinate that gives you the coordinate functions. And we saw that continuity of a function is much more important than saying each coordinate function is continuous. So, now let us look at differentiability. We want to come to a notion of differentiability of functions of two variables, right. And we would like to say that differentiability should enable us to give something what we have done in one variable. And what are these things? Notion of tangent I should be able to define in one variable, right. And I should be able to say it is smooth. And smoothness was saying that tangent is possible, right. Now, what is the meaning of saying corresponding thing if you want to translate for functions of two variables, right? In one variable, smoothness was we are able to draw a tangent at every point to the graph of the function. What should be the corresponding thing for functions of two variables? So, let us look at the graph of a function of two variables. What is the graph of a function of two variables? So, f is a function. So, for this function, what is the graph of the function? Before we want to draw something like tangent, we should know what is the graph? What is the graph of a function of two variables? Or what is the graph of a function of one variable? All the points in the plane x comma f of x, right. Every point in the graph is x comma f of x. So, here this is x and this is h of x. So, what is this point? Coordinate of this point is x comma h of x. So, all these points are x comma h of x, right. So, here what is the domain? Domain is x y, two points and what is the value f of x y. So, what is this point? If I know this thing, I know the function for every point x y belonging to the domain. If I know this triple, I know the function. At x y, the value is f of x y. So, this is the point in R 3. This is the point in R 3, x y. So, what does it look like? y and here is a z coordinate. So, here is the domain d. You take a point x y. We have done it when we defined what is the function of two variables. What is f? It takes a point here and gives you the value f of x y. So, that is at height. So, at every point in the domain, you look at those points in space.  So, graph of a function of two variables is a surface in R 3. For two variables, it is a curve in R 2. Now, it becomes a surface in R 3. So, what I want to do is for this surface in R 3. So, this is my surface.  I want to say this is a smooth surface. So, when you say physically, what would you say this kind of thing is smooth? When would you say this is something smooth? I am not asking mathematical. You are saying when we say this plane is very smooth. If there is a stone lying here, then you cannot just glide over that thing. You have to sort of do the obstacle. Look at a hill with stones inside it. So, there is not there are obstructions. You cannot glide kind of a thing. So, saying something is smooth means you should be able to draw a plane which should touch the surface only at one point. That you would call as the corresponding thing of tangent line for one variable function. The graph of a function of two variable at every point, I should be able to draw a plane which touches the graph only at one point, that point. So, how do I capture that thing problem? Now, a plane is known. See, there a tangent line was known once I know the point and the slope. Now, if I want to find out the equation of a plane geometrically, I know the point through which it is going to pass. This is the point. I know that at this point. I know the plane if I know a normal to the plane. I know the equation of the plane. If I know that at this point, this is the normal. So, given a line, given a vector which you would like to call as the normal, there is only one plane. There is only one object in the plane, object in R 3 which you can call as a plane to which this will be the normal and that you would like to call as a tangent plane. So, here the problem would be first to define what is a normal and the plane which is perpendicular to that normal will be called as a tangent plane. That is how we are going to go about functions of two variables. So, to draw that normal, what we do is the following. Some elementary things. First, consider our function is f d in R 2 to R. We will assume d is nice like an interval. It is a ball on which the function is defined. So, consider fix, say y naught, belong to the plane. So, consider y naught belonging to R, such that x y naught belongs to d. And look at x y naught going to f of the coordinate function. Look at the coordinate function. Let me draw a picture here on the side. Here is the domain, z, x. So, this is the point we are fixing. This is the point we are looking at. So, we have fix y naught. I am varying x. So, where I am moving? So, in the domain, I am shifting x. So, I am moving along this line, which does not look like parallel to x. So, let me draw it slightly better. So, this itself looks like this line. So, what is this line? Green one. These are the points x for a point x, x comma y naught. So, that is the point here. So, this point is x comma y naught. At this point, look at the value of the function f of x comma y naught. So, what will that give me? As I vary x, so that will give me a function of one variable. So, that will give me a curve. So, at every point, this is the point of this. So, this is x naught y naught, f at x naught y naught. So, at every point, now I can ask the question for the coordinate curve. Does it have a tangent at that point? That means, I am asking, does it have a tangent at this point? If it has, then we will say the function has partial derivative at the point x naught y naught in the direction of x. So, look at d by dx of f x y naught at the point x is equal to x naught. If it exists, then you will write it as f dash x naught. I should not write f dash because it is only with respect to x naught y naught partial derivative of f with respect to… So, instead of writing d by dx, you start writing del delta. So, this is, what is this quantity? This is the derivative of the coordinate function y naught fixed, x is varying. So, x is varying. Similarly, you can also ask for whether the other coordinate function is differentiable or not at that point. So, you will have partial derivative of f x naught y naught with respect to the variable y. They may not exist, like function of one variable y, derivative exists. But if it exists, so these are called the partial derivatives of f at the point x naught at x naught y naught with respect to the two variables, the function of two variables. So, we are looking at a function of three variables. You will have partial derivative with respect to the third variable also z. So, the function… So, let us look at some probably examples before we go further. I think we looked at that example for continuity of function f of x y. So, let me write as x plus y divided by x minus y. If x y naught equal to 0, 0 and 0, if x is equal to 0 equal to y… Oh, sorry, not… It is x minus y. So, I should write a bit more carefully, because the domain should not have x is equal to… If x is not equal to y and 0, otherwise, let us write… So, domain of the function is r 2 minus the line y equal to x. And we saw this function f is not continuous at 0, 0. We saw that this function is not continuous at 0, 0. Let us try to look at the partial derivative of this function at the point 0, 0 with respect to x, whether it exists or not. So, what is this partial derivative? It is a limit h going to 0, f of with respect to x. So, h comma 0 minus f at 0, 0 divided by x. So, what is this equal to? Limit h going to 0. What is x 0? What is the value of the function? That is equal to h plus 0 divided by h minus 0 minus f at 0, 0, 0 divided by h. So, what is this? It is a limit h going to 0. This cancels out 1 over h. That does not exist. h goes to 0. We have to look at limit h going to 0. So, the partial derivative of this function does not exist with respect to x. Similarly, you can analyze with respect to y. So, this function is neither continuous nor the partial derivative of this function exists. Let us just look at one more example before we conclude or stop the lecture today. Let us look at x y divided by x square plus 1, say. Let me write x square plus y square. So, then I have to modify x y not equal to 0, 0, equal to 0 otherwise. Now, look at the function partial derivative of f with respect to x at 0, 0. I want to find that. So, I should look at the value of the function when y is x is varying. So, y is 0. So, when y is 0, this function is 0, constant function. So, equal to 0, that is same as the partial derivative with respect to y at 0, 0. When I fix one of the variables x at 0 or y at 0, the function is constant function 0. So, derivative exists. Is it continuous? Is f continuous at 0, 0? So, one of the ways of looking at it is look at a along a curve. How does the limit look? So, look at y equal to m x. So, what will the function look like around the line y equal to m of x? Line passing through origin, the path should pass through the origin. We saw last time. So, that will be equal to m x square divided by m x square plus m square x square x square will cancel. So, limit is m square m divided by 1 plus m square. So, that depends upon the slope of the line. So, along each line the slope is different. So, the limit is different. So, the function is not continuous at 0, 0, not continuous. So, existence of partial derivatives at a point need not imply the function is continuous. So, analyzing differentiability of one variable at a time is not good enough to say that the function is differentiable. We need something more than saying both the partial derivative. Like continuity also, continuity of function in each variable need not imply continuity jointly. So, we will see what is that required to say that the function is differentiable as a function of two variables. So, we will stop


The Appalachian Advantage plan is the simpler, better way to get the phone you actually want instead of paying hundreds of dollars up front.  It's called the Appalachian Advantage and is available at Appalachian Wireless. On Saturday, May 14th, the Altman Eye Center held its grand opening and ribbon cutting which included a bounce house for children and a hot dog cookout. I went to the University of Alabama at Birmingham and it was really cool moving away, living in a large city. That was kind of what inspired this location. Living in a big city, I saw some of the things that the city had to offer that maybe needed to be filled here in this community. So we tried to create a big city, optical and eye doctor experience here in our hometown in this community and I hope the community takes a ball to it. We are certainly excited about it and happy to be back here. The Eye Center boasts an astounding array of frames and sunglasses which are currently on sale and will be all week. They also provide several eye care services including eye exams, pediatric eye health care and dry eye treatment. This is a dream come true. We're really happy to be home, be in this community. That famous saying, the mountains are calling, we must go. That was kind of true to me so happy to be back home, happy to be in the community. We appreciate the support from everyone local here so thank you so much for everyone who's been a part of this. For more information or to book an appointment, visit altmaneyecenter.com or call<PHONE_NUMBER>. For Mountain Top News, I'm Kelsey Dean.


Okay. Hello. So my name is Tim Beier. I'm an analyst in the Wikimedia Foundation's reading team. The title of the talk is New Leadership Data and it's just a couple of things with an emphasis on things we've learned recently about how Wikimedia is being read. So it's a bit of a grab act to be honest. It's not one overarching topic. A lot of these things are by-products of things we're doing in the reading team to in product development. So for example we might add instrumentation to look how various interface elements work are being used. We could change them but at the same point we're also learning how readers interact with the content. And I've also included some other people at the Foundation and by some academic researchers. And last thing as a caveat it's not about page view data. So there's been a lot of research and on our last this I just presented at a metrics meeting last month about our general readership trends based on page view data and there's been a lot of academic research about. So it's not about that. But to quickly summarize where we're there also you can locate the different instrumentation we're talking about. That sub is still a bit more than half of our page views but it's decreasing. Mobile web is half of our page views a bit less but since we have less pages per user on mobile it's actually more people already on mobile. And our apps Android and iOS about one 1.2% of pages. Thus it's also not about this talk is not about new metrics that we're going to present soon on Unix for example. So just get out of the way. Okay so after introduction I'm going to talk a bit about load times which is a work with the performance team already here. Then we look at which parts of an article actually being read. So after the page view what happens and one by position in the page geometrically and then also a bit by topic. And there's some other data sources and also other research that's going on in the foundation right now. Surveys and video interviews. Okay so first topic what how long do readers have to wait. And this is a chart of so we're publishing the median or average load times a lot and see how they develop. I'm so sorry all of a sudden we're having problems switching to your slide deck right now on the AV bridge. Do you mind pausing for just like one minute while I figure this out for the sake of remote viewers. Okay so I hope everyone can see the slide now. I have to repeat for remote is it shows the loading time until the whole page has completed loading. And it's a bit compressed here it's a log scale. I just invite you to look at this and contemplate that the people on the left which have less than one second or even half a second are in a much different reading situation than the people on the right who wait for 10 seconds or 20. I mean there's even some outliers which with several minutes wide and there's a timeout. So this depends obviously on your connection speed but also on page size so I mean longer pages load longer obviously. But what we are interested in is one thing that is of course does it depend on geographic location. And so this is the same chart the blue thing is the same here but it's some of the fastest countries. You see over the Switzerland yellow is here USA. On the right hand side now the slowest countries are India Ghana and Nepal. And you see it's not all black and white there's some very slow people in US and there's some very people on fast connections in Nepal but it's not a lot. And over all these countries differ a lot. Again we are yellow here in the US and there's other countries which are in quite different zones. And you can also plot us in a map which is showing up. So this is a map by connection speed and I really sorry about the colors. I'll update the comments with some nicer colors but yellow or green is the fastest. It's here two seconds. That's yes that some European countries not all like UK, Scandinavian, you see a little dot of Switzerland that we saw on the previous chart. And you can hopefully also see that Netherlands is yellow and that's of course because we have our caching data in Amsterdam. So European countries benefit from Amsterdam. And you see it's pretty much a map of the global south and with some especially slow countries in Africa and with some caveats. This data actually doesn't show up if the page is not finishing loading. If the user waits too long and moves to another page or if the connection times out which can happen too. But you see a bigger picture and this kind of thing really informs a lot of current work to improve things for people on slow connections in the global south. There's a big tracking back on fabricator. Make Wikipedia more accessible to 2G connections. 2G is slow mobile connections.  Things like that. Okay that's so much about performance. Next part will be which part of an article are we just actually reading and that's something we have been looking at pages all the time but we really don't know what happens after a page or does a page even mean how much of an article is being read. And since one or two years we have some new data source on this and that's what I'm going to talk about in the next and 15 minutes or so. The first data source is something with it with a mobile web team. On the mobile web version of Wikipedia maybe we've seen is sections are collapsed below the lead that means you got to read the lead section and all the top level sections below that are collapsed and you tap on the section heading if you're interested in that section. And then we can ask the question so how many people actually opened this section right and the result is that 60 over 60% or 61 only the lead section is looked at and it decreases rapidly as you can see in this chart. So it's like it's like 20% exactly one seconds and 25 or so one or two sections and they increase rapidly. We have some other instrumentations also done because the product measures wanted to make some decisions about what to add or not. So for example in 2014 we're looking at placement of some buttons and at the bottom of the app I think Android was and I found it in during one week 25% of app users ever saw the end of the page. So that's not the page where that's per user and we that's not allowed right. It also means that a lot of people just stay at the top. Some recent thing for the related pages. These are links that are shown at the bottom of the page and then we had 40% of pages on desktop and 32% of pages on mobile web getting to the bottom of the page with a caveat that these are mobile web users meaning people that actually opted into the mobile web so they're probably more engaged readers and also on desktop they opted into this. And another data server is really interesting is click actions. There's a really interesting data set published about a year ago by the analytics team which mapped click streams meaning how people click from one page to another in cyber Wikipedia what internal links, wiki links. It's on English Wikipedia and desktop. So one finding is you see the child of the right which is rotated to 90 degrees basically. So the left hand side is the top of the page, the right hand side is the bottom of the page. You see that the click rate decreases considerably from top to bottom although a bit less rapidly than you might expect what we see later. Some other academic researchers, so this was done by the foundation with you from Stanford Bob and Leila at the foundation. Another academic researchers team looked at the centers of clicks to the lead section and found that we see between 26 and 43 percent. It's not exact science because links might repeat but that's the estimate. That's also another data point showing us that the lead section is really important and by the way this is all really interesting for editors. I mean a long-term editor myself and it differs so much what part of an article you edit not just which article you edit. On English Wikipedia there was recently an edit contest called take the lead which specifically focused on improving the lead section because also driven by this inside wide audience. What most people read it's really important to get the lead wide. The third result here is that this is a bit funny because normally you can't predict where a link ends up depending on your screen size but I kind of assumed that you have a fixed browser with with a standard resolution and then I found that links on the left hand side are clicked more often. That's also by the way I made us a lot of standard research on web pages with heatmaps or eye-tracking. I'll talk about that later and so that's a pretty standard inside that the left hand side gets a bit more attention and they could verify that using this data set. So another instrumentation about this last one comes from the Android app and the Android app we looked at how what's the lowest point of a page that people see and so this is a really nice plot showing you how it decreases. Of course 100% people see the top and about I think was 7 or 8 on the this Android app per page view see the bottom. Again it differs a bit from the higher numbers we saw on these opt-in readers on desktop and mobile app but that's the app view for you and again it shows topics we see much more attention and should also also much more important to get it right from an editor's perspective. Okay this is another study, a small study that studied scroll actions. So usually we don't track users with this kind of detail. This was a study done with Amazon Mechanical Turk users who basically had every action recorded in very much detail. So they were giving tasks to look up certain questions about diabetes and other medical content I think. You can look up what is on meta-booking but this is one example quick explain what it means. So the horizontal is the time axis you see it's the whole thing took like 12 minutes and the vertical axis is the position in the article and the gray thing is the view pane, the view part so people what the part of the article that people see. So this person started out on the main page that's Violet and at the top then I went to the article right diabetes and jumped down to the middle of the page right there for a while then the pen we could have lost here that jumped up and down a lot. But another part, another part, I was caught on a bit more, went to another article and just read this one section, could look up what it was actually. I didn't went back to previous article to do about the same part of reading beforehand, moved up a bit and moved to two other articles and yeah this is just one case. Not a systematic conclusion but it was really whatever we like about this is that it drives home the point that maybe the artists are not being read linearly right from top to bottom and this is probably a pretty typical use case. Okay so the next part we can also ask what kind of content people are interested in. So this is somewhere limited data but with the same data set we had earlier that tracked the section expansions. I also looked at some examples and some specific articles and that's kind of funny because it tells you what part is most interesting here in the article about Barack Obama. You see it's a lot, it differs a lot the attention between different sections and not a lot of people are interested in his legislative career before becoming president or in past campaigns but there's a lot of interest in early life and career, family and personal life and maybe that's a bit disillusioned but yeah I wouldn't say it's tabloid interest but and that's definitely some difference between these and by the way also it's not surprising that notes and reference don't get a lot of clicks because you can click on references within the article but it's kind of surprising what's also seen other articles that external links don't get a lot of interest on the mobile web. And another example, I have a few more including Donald Trump for example. And by the way this needs this needs a lot of traffic for this to work so if you have articles that you are interested in I'm happy to wonder where it just needs a lot of pages per month to make this statistically significant. So let's say I dig about second world war and we look at it again the kind of clerical sections at the bottom don't get a lot of intention external links reference situations notes here also. I can see that chronology and cause of the war so like the timelines of seems a bit more popular than like the analytical background people impact but again this is just one example there's others and this would need a more wise with systematic analysis but again this is like one of first times really see which parts of the article are most interesting for readers. Like I said before there's some standard methods if you want to study that kind of thing on other on the web and one method is eye-tracking but you put a person put on some glasses or cameras pointing to their pupils you see which part of the screen they're looking at. This is really a trick I mean it's standard but it's pretty tricky to do in the expensive equipment and need to train people who are administering this. We haven't been using it at the Foundation. I think Abbey said that she's done in a previous job but we don't have the capacity to do that here but there was one German team of academic researchers who use that for a bit on the German Wikipedia. Yeah that's that's just an excerpt but somehow that's defined in lookup tasks so I talk about it more later but we assume that readers come to Wikipedia with different needs but someone to read whole articles someone to just look up one specific fact and look for that within the article. So in that category we just spend a lot of time according to this eye-tracking study by scanning the table of contents and lists that you have in the article and the other category they use was learning and in that category they saw a big difference that people spend much less time less than 10% on the table of contents and on lists. So another paper that published was again it's about the eye movements and I'm not going to go deep into this but usually you look at fact fixation points and movements between the term for the saccades and just looked at what points in which sequence readers are focusing on, classified them by for example images or like table of contents as well. Tillman on your World War 2 slide what was on the x-axis? People on IRC want to know. Okay that's a frequency how often these are clicked but I didn't put in absolute numbers because it's just about a sample but if you sum again for every section you see how many clicks expanded, tabs expanded that section and that tells you how popular, how much interest pure were in the content of that section and why I don't know it's just about a headline it's not about content because they don't see that only after opening it. Okay let's go back to the second point here where they looked at the eye movements between these various fact images and text features 39% of content points so that's movements let for image to image i.e. images are really important for navigation right and mutual exit views are next so they will form one image to the subsequent one the text contact point was 37% so also important but a lot and introduction that means so I don't have time to cut it but I think that means that at the beginning they tend to focus on an image. Yeah that's our offense might also time wider because I'm already 40 we give me a research newsletter that we're publishing every month. So a few moments I just want to mention other research we're doing. Abby just came for her part. So one thing with the reason he was to actually interview real in-life readers in the global south in Mexico. So when you went to Mexico and interviewed a lot of them you can read details on our media wiki.org so that's qualitative research right that's kind of complementary to the quantitative research we're doing here and it helps you to yeah to maybe find things you would overlook and quantitative research and that you can then also later test again and similarly you have to in a series of reader surveys using the quick service features first so the there's a new subsection that can where you can put in little banners inside articles. So the goal of that is to build taxonomy classification of Wikipedia readers and of articles based on how they are being used by different kinds of readers. So what does it mean? So there it is in the classification was talking about why you might come to Wikipedia and have want to learn about something in depth. I'm going to Paris and I want to learn after a minute to read about the Eiffel Tower and it again overview what is here on the chart here all you is kind of a dictionary definition if you have never heard about what is this Eiffel Tower thing and oh okay it's a tower built in 18 something and famous site or whatever so that's also a quick lookup basically and then they looked at isolated fact lookups how high is the Eiffel Tower when was it built and it's a bit what we saw earlier in the the diabetes for example what I asked a specific question had to find the answer in the article or in the eye tracking study whatever looking at the table of content so long to see where in this article might this info specific information be hiding that I'm looking for and so do you see the first result on the right so the fact lookup and I mean the in-depth lookup is important important but it's like the minorities 25% and the two quicker tasks overview and fact about the same and just to mention what they're going to do they are also interested in if somebody tells you what they are doing what situation they are reading Wikipedia at school for example what what of these three tasks might I be doing or the most likely be doing or vice versa and site also look at Patriot sessions so that's the interesting thing I mean I've been various readers surveys before there's a list on meta and what's new here is that I can actually tie that to what these people are actually reading and how they're reading it so that's that's there being ongoing work but I think it's going to be really interesting so that's what it's a Patriot session features meaning how long the session might be how many articles are they reading a lot of related articles and we can we also predict which articles are being related that's a bit similar to the clicks team data set I mentioned earlier which what I forgot to mention that so the real purpose like for the other instrumentation three of the six in data set or was not too often was not to study these negation things but to provide link recommendations but what kind of links are my permissing if a reader clicks to five articles and then ends up on one maybe you should link directly to the fifth article and similarly here but if you see that a lot of people are reading this group of articles maybe you can provide direct recommendations to a person in that kind of task again that's more on that on meta not just want to mention because it's pretty big product going on yeah so again it's been a bit of a grab-back take away is really that I'm only beginning to understand what people are doing inside articles and one big take away where there's especially is that the lead section is much more important right and also that section headings matter at the site on whether people click on open your actually a section to actually read what you wrote or don't on mobile web also on table of contents by the way I mentioned the their performance realization that we have readers with really really differing connection speeds and needs as well so and yeah and the different three different tasks of the beginning to distinguish that we just come to Wikipedia very different needs and tasks I want to accomplish and that's what a lot of people are working on right now cool yeah any questions so well we are in Mexico one of the things that we learned we only talked to 15 people but probably about half said they use Wikipedia for an overview rather than deep learning and I think three people who are in higher education said I don't trust Wikipedia for a deeper learning to like one of the micro biologists and she's studying biology and she said I can use it to understand a definition but when it comes to applying that definition or understanding how the details I don't necessarily trust it because there's inconsistencies in the information and she was talking more about Spanish Wikipedia and I think that the the reader segmentation the little survey that went out was in English I'm wondering if we're gonna do that reproduce that experiment in other languages also because I'd love to see the results in Spanish wiki yeah I need to put a question to let our others who are working on that it's an answer to I think I've done targeted Persian Wikipedia at least but and wasn't also Spanish I'm not sure yeah but it's underrated definitely indeed yeah coming from different angles other questions we have not invited you to also look at monthly research news data that and the Twitter feed that Darren I of publishing so we cover a lot of academic research there also sometimes the state analysis on the foundation and you can learn a lot about various aspects of how Wikipedia is being used that's not meta and on Twitter also the the Wikimedia Foundation's reading team has a page on media wiki.org with ongoing work and quarterly goals right what's coming up in the next quarter what has been up this quarter and the third page I link was that collects part of the things I was talking about which parts of an article being read so you find some of the charts and the papers that such are there and also I'm going to add some things from this talk I just did recently okay any other questions so cool thank you


Hi everyone, I am Dr. Sapna Mahalai, 3rd year junior resident from JMC Mumbai. My topic for presentation is role of imaging in parodic gland lesions. Parodic tumors representing 80 percent of the salivary gland tumors. Most of these are benign with pleomorphic adenoma being the most common and mucoepidermal carcinoma is the most common malignant lesion. Imaging helps in delineating the extent of the lesion and invasion of the adjacent structures. Pre-operative evaluation of the parodic gland tumors using dedicated imaging is crucial for surgical planning. The aim of this study is to localize and characterize the parodic lesions to differentiate benign from the malignant lesions to study the deeper extent of the disease to help in the early diagnosis of the lesion that are potential for malignant transformation. Role of imaging in staging of the salivary gland tumors to determine the surgical receptivity. MR imaging had been done on a patient's referred to redology department for parodic lesions. 3 Tesla MRI unit with dedicated NECOL was used for MRI. MR NEC imaging protocol included axial T1 T2 weighted images with coronal T2 star DWI sequences and post-contrast axial coronal sequences. Gadolinium-based contrast media was used. MR angiography performed with top sequences whenever needed. Agile images of the MRI sequence showed a well-defined T1 homogeneous iso-intense lesion with a T2 hyper-intense lesion represented in the superficial lobe of the lab parodic gland. The thin rim of T2 hypo-intensity representing capsule is seen. Post-contrast T1 fat-set images at the same level show your homogeneous enhancement. Based on the imaging findings, diagnosis given was the pleomorphic adenoma which came out to be positive for same. Agile images of the MRI showed a few enlarged T1 hypo-intense lesion over lesions in the superficial lobe of the lab parodic gland, appearing hypo-intense on T2 weighted images with few tiny hyper-intensistic areas within. The lesions show homogenous post-contrast enhancement with a few non-enhancing areas. True diffusion restriction were noted in a lesion. The diagnosis given was the Warthens tumor based on the multiplicity and imaging findings which came out to be positive for the same. Agile images of the MRI showed T1 hyper-intense well-defined soft tissue lesion in the superficial and deep lobe of the lab parodic gland, hyper-intense on T2 weighted images and show homogenous post-contrast enhancement with patchy areas of diffusion restriction. This was a known case of T1 disease and parodic gland involved by the same disease process. Known case of RVD since birth showed bilateral enlargement of the parodic gland with multiple solid cystic lesions and showing homogenous remenancement on a post-contrast scan. The diagnosis given was the Benign Lymphopithelial lesions. This is a known case of Type 1 neurofibromatosis in which the T2 hyper-intense large lesion is seen over the left side of the face and neck involving the lab parodic gland. Several small lesions showing central area of low intensity surrounded by T2 hyper-intense rim that is target sign is seen and the lesion appearing iso-intense on T1 weighted images and show heterogeneous peripheral post-contrast enhancement. The diagnosis given was a Plexiform Neurofibroma. A well-defined T2-star hyper-intense lobulator soft tissue lesion is seen involving the right parodic gland. Multiple plebolis are seen in the GRE sequences. Lesion appears hyposintense on T1 weighted images and early training when is seen and training into the external jugular vein. Diagnosis given was the slow flow venous mole formation depending on the early training vein. Agile and core and angiography MR sequences showed a well-defined multi-loculated cystic lesion in the subcutaneous plane of the lab vocal mucosa involving the lab parodic gland. Minimal peripheral post-contrast enhancement is seen on dynamic angiography. No evidence of any early enhancement or early training when is seen. Diagnosis given was the slow flow emphatic mole formation. Diagonal and axial sequences of the MRI showed T2 weighted isotope hyper-intense fewer well-defined lesions within the superficial lobe of the right parodic gland. Lesions show hyper-intense signal on T2-star images and homogeneous post-contrast enhancement with a true diffusion restriction. Based on the multiplicity and imaging findings the diagnosis given was the worth in steamer however it came out to be in the centric castelum and this is on a HPE. A well-defined T1-hypo-intense lesion in the deep loop of the parodic gland T2-hyper-intense lesion with peripheral post-contrast enhancement and central areas of necrosis and show peripheral areas of diffusion restriction. Diagnosis given was the carcinoma is pliomorphic adenoma which conform on pathology. A solid cystic lesion with a hypo-intense solid component on a T1 weighted images. Hypo-intense solid component on a T2 weighted images the solid component of the lesion show heterogeneous post-contrast enhancement with patchy areas of diffusion restriction on a DLWI. Diagnosis given was mycopteramidcarcinoma which came out to be positive on a histopathological examination. A solid cystic lesion in the superficial lobe of the right parodic gland with a solid component appearing hypo-intense on T1-2 weighted images. The minimal post-contrast enhancement is seen and showed true diffusion restriction. Diagnosis given was the Warthens tumor however on a histopathological examination it came out to be secreted to carcinoma. A well-defined T1 iso-intense solid cystic lesion with irregular margins is seen in the superficial lobe of the left parodic gland. Solid component appearing hypo-intense on T2 weighted images and showed heterogeneous post-contrast enhancement without true diffusion restriction. The diagnosis given was the scenic cell carcinoma which came out to be positive on a histopathological examination. Another study included 38 cases out of which plumeorphic adenoma is the most common benign lesion and mycopteramidcarcinoma with the carcinoma X plumeorphic adenoma is the most common valignant lesion. Depending on the findings in this study the most of the benign lesion showed well defined margins with a high signal intensity on a T2 weighted images and homogenous enhancement with a percent areas of necrosis and malignant lesion showed well defined margins with intermediate to low signal intensity on a T2 weighted images and heterogeneous enhancement with presence of necrosis. Plumeorphic adenoma is the most common benign parodic tumor. Lesion smaller than 2 cm showed high signal intensity on a T2 weighted images with homogenous post-contrast enhancement. Argent lesions may appear heterogeneous due to necrotic and absurd components. Barthens tumor or so known as acestadinolymphoma smoking is the main risk factor. Multiplicity and bilaterality is the future heterogeneous with variable signal intensity on a T2 weighted images and heterogeneous post-contrast enhancement. Chimora disease is a very rare chronic inflammatory disease. Interparotin lesions show homogenous enhancement with restricted diffusion due to their hypercellular nature and lower content of fibrosis. Benign lymphopithelial lesion is the mixed holistic lesion with enlargement of the parotid gland associated with the cervical lymph node enlargement. Plexiform neurofibroma is the hallmark of NF1. May show characteristic target sign. Unicentric castellament disease is also known as angiopholicular lymph node hyperplasia can be unicentric or multi-centric. Hand neck involvement is rare and extremely rare chances of salivary gland involvement. Diagnostic challenge because it mimics the other neoplasm, tissue sampling is necessary. Carcinoma, exliomeric adenoma, thought to arise from the pre-existing pleomorphic adenomas. These are generally heterogeneous on T1 weighted images. Neocorbidermal carcinomas most common malignant parotid tumor and imaging picture depend on the histological type. Acenic cell carcinoma is the most common malignant neoplasm. Almost exclusively occur in salivary gland and imaging pictures are not visible. Secretary carcinoma previously defined as a zymogen-poor variant of acenic cell carcinoma. Components are very rare, similar to the adenotic cystic carcinoma. Conclusion on MR most benign and malignant parotid lesions can be discriminated by their appearance. Obminative imaging is vital for surgical management. These are my references.


When it comes down to your decision for probably the final positional roster spot if all things being positive for you, which are guys are healthy and you have your choice, what do you value in that role?  But I think in all the guys that you can, you know, scroll through your mind who would be in consideration for that. I feel like we're in a really good position that whatever way we go, there's a good choice to be made there.  You know, whether you're talking about a Jay Bruce who's shown me he can play first base to go along with the corner and he's healthy and we know what his bat can be with, you know, to go along with a Detrick who has position versatility and patience and power and left handed. So I feel like we have a difficult decision in front of us, certainly. And there's a lot of things that factor into that and go into that decision. But I feel like whatever way we go, I feel like we're in a pretty good spot entering the season with what potentially could be a pretty deep 26 man roster.


Nico from Italy, a small town close to Milan, and I'm an interior product designer. My project is about a smart device that detects the movement out of our visual field, as well as the sound, and the dangerous situation. It helps people to be more aware of the surrounding when they are distracted using their smartphone, typing, having a phone call, or listening to music, which is the activity we most do without, in the meantime, they're doing other stuff. We are used to do our activities because of the smartphone, and we do not perceive the surrounding environment properly. So this device will help people to avoid any, let's say, dangerous situation. I'm a patient for product design, and as well, I'm a patient for music.  That's why my device will have the potential to be further developed in order to be useful for hearing impaired people too. That was the goal, this is the final goal. The preparation process is going on. It's, I mean, it's going. I just need to finalize few free things, but let's say, hopefully I will respect the deadline. It should be finished by this weekend. I faced several challenges in the design process because I have to talk with the technician, engineers, people that work with Arduino, and I was at zero experience in this world. So it helped me to learn something new. And of course, I faced some problems managing all different engineers and technicians who were working on the electrical device in order to get the product done on time. My exhibition will look very easy. It will be a video screen, maybe on the wall or on the monitor, I still have to see. And next to it, there will be some models of the product that people will be able to try and a model and a function, semi-functioning model that will be lighting, synchronized with the video. So it should be clear to people what this product does, how is it helping the user and in what situation it's warning the user about the danger, about the sounds and so on. Just come and you will see it.