Previously in the class, we've never stumbled upon this problem that we had to predict a specific path of a specific atom. Let's see if we can avoid that here too. Actually, this far you've been able to make do with the Boltzmann distribution and the partition function. So let's see how far that takes us. Assuming that there is an energy landscape and I'm interested in the equilibrium properties of it, then you know now that it's sufficient to know the populations of the states here. If I would like to know the kinetics, I would also need to know the peaks, but at equilibrium I also only need to know the states. If I'm at the edge here, I would fall down on either side, right? This is something you worked with already in Hand in Task 1, but what you did there to simplify things, you simply defined a number of energy levels and then you calculated the probability of moving between them from the energy difference between them. And in particular, in that Monte Carlo program that you run, you used a method that is very special, although you didn't know it. So the probability of being in an individual state that is proportional to e raised to minus eI divided by kT. But you used something else. You used the relative probability of i and j, pI divided by pj, which is e raised to the energy difference between states i and j divided by kT. And what you did, if this was exponent here, if the energy difference was negative, that if I'm going downhill, you always took the move and if it was going uphill, you sometimes took the move, at least if the gap was not too much uphill. That sometimes you decided by drawing a random number x. I don't think you called it x, but I need to call it something. It's a uniform random number in the range 0 to 1. And then we compare that pij to x. If pij is greater than x, we always accepted the so-called move. And if pij was smaller than x, we rejected the move. But note that x is random, so we don't know. x is between 0 and 1. Does this make sense? Yes. If the energy difference from j2i was negative, this is going to be positive, then pij is greater than 1. Well, x can only be 1, then you would always accept it. On the other hand, if the any barrier is uphill but small, it's going to be a negative number close to 0. It's going to be just under 0. And then it's very likely that x will actually be smaller than that and then you will probably take the move anyway. But if the energy difference is very large and uphill, this will be a very small number and then it's very likely that you will reject it. That was not, this was hand-waving, but the method you used has a very special name. It's called Monte Carlo sampling or Monte Carlo simulation. And that specific criterion is the so-called metropolis criterion by Nicholas Metropolis, published in 1949. This was such a breakthrough that the US military even considered classifying the discoveries because they wanted to use this for simulating nuclear weapons. That was hand-waving, but what I'm going to argue that we haven't proven is that this will actually reproduce the Boltzmann distribution. And it will particularly reproduce a nice property called detailed balance, meaning that at equilibrium, the flux across the barrier here, left to right or right to left, it's going to be the same. So there are many more particles here, but they have to find and go over a very high barrier, which is unlikely. I have much fewer particles here, but for them the barrier is lower. And if the flux is the same in both directions, the relative distribution of atoms or particles between the states is going to stay constant, right? So that should be great for a protein in water too. Let's take my protein and try to make that type of moves. Moving a torsion, well, that's a torsion. That worked great. Well, no, it didn't. It only worked because I didn't show you all the water around this protein. In practice, what just happened is that I bumped into the water. I need to reject that move. Let's try to move something else. I bumped into water there too. In fact, I'm going to bump into water pretty much. It's going to be one in a billion that I don't bump into water. So this method is hopeless for anything that's exist in solvent, unless I have a very smart way of moving them. Too bad, we're going to need to go back to the old slides where I argued that we're going to predict individual motions. Well, do we? I would actually argue that this conceptual way of looking at it makes a lot of sense. It's just that the specific recipe we made for the moves that they didn't hand in task one is not going to suffice for proteins. I just need some other way that generates confirmations that are correct according to the Boltzmann distribution. And you have such a way. In fact, we had it two minutes ago. Newton's equations of motion will fulfill this. Two, they have a slightly different property, though. They're the actual steps we take are going to be minute, which means that I won't move very fast. But on the other hand, I never end up rejecting any of them. And in the end, that benefits me more. I will be able to sample better. But then you should ask, didn't all those concerns about accuracy of prediction and everything hold? Well, they do. But you see the difference I'm making here. I'm no longer pretending that I can predict the exact path of one atom. All I'm interested in is am I sampling the energy landscape correctly? Which I will do in terms of the occupation of the states here. The other thing that gets me is something that you didn't get from the lab. In this lab, you had no information of the kinetics because you didn't even consider the any barriers between the states, right? So just moving directly from state to state would mean that there was no kinetic information at all. But if I'm now using Newton's equations of motions, I do get information about kinetics. I can count how fast they go over barriers and everything. And I'm going to argue it's the same property there that the individual atom might not be exact. But when I average this over many atoms, the average kinetic properties will in fact correspond to the correct values unless I made an error in my potentials or something. So this is going to be a beautiful way of getting rid of the challenges with predicting parts of individual atoms while also using the safe and sound Newton's equation of motion to generate new states. And that's why we use molecular dynamics. I'll formulate this in a slightly more formal way though. Each atom has a mass I that we multiplied by the second derivative of the vector coordinates of that atom with respect to T. That should be equals minus the gradient taken with respect to coordinates I of the potential that is a function of all coordinates. And then I will be in the range one to N where N is all the atoms in the system and that can be 10,000, 100,000 or even a million. So these are going to be a very large set of equations in general and it will still be expensive to calculate B. But this solves the challenges for us. And just to draw the analogy, remember that integration I showed you. An individual atom might deviate here but that's going to be one in a million. And in general, most of the atoms will stay closed both in terms of what states they're sampling and the kinetics they're sampling. And that means that I will get good averages here not just for the states I'm visiting but also the kinetics. And then we're in business.


in early 2014. She will also share mesh and methodologies for using it across OpenSim, Second Life, and Unity 3D platforms. Welcome, Annabel Fanshawe. Hello everyone. Thank you very much Cam. I'm so glad you all could make it here today. I'd like to show you some interesting ideas and concepts that I discovered while I was writing my new book, Virtual World Design. In some cases, I had actually been using these concepts and did not know their formal names. And in other cases, I found that I could use them to create more emergent design. A delightful discovery in either case. I would like you to think about three questions while I show these concepts to you. How to play with concepts while you design. How to use them as tools to get a better design. How to create emergence in your design with these concepts. I am talking about the emergence of deeply creative designs, meaningful designs, from adding lots of substantive thinking to your design process. Virtual world concepts are everywhere. Let's look at illusion, perception, and the history of virtual worlds for a bit. First, we had conceptual and philosophical ideas. In Plato's Allegory of the Cave, reality is described as a shadow of the real and unknowable forms in the universe, perhaps the first mention of a virtual world. Almost 400 years later, Pliny the Elder wrote volumes about illusion and human perception. Immanuel Kant's writing influenced Magritte, the French surrealist painter, whose images examined our definitions of reality. Then we got some 2D technology together. The camera obscura led to the invention of photography. Projected images began with the magic lantern. The Lumiere brothers created a new cinematic reality. Later on, we invented the computer and how to simulate 3D space. In 1974, May's War was created. It was the first instance of avatars, game space maps, and a first person 3D perspective within the game space. In 1978, the first mud multi-user dungeon arrived, known as the Essex Mud. In 1986, Lucas Film Games, Quantum Link, and Fujitsu opened Habitat. That was a significant step towards creating online gaming communities in virtual worlds. In 1993, Doom created the foundation of a gamer subculture. EverQuest and RuneScape were early members of the online world MMORPGs. In the early 2000s, the virtual worlds of Second Life and There combined social connections with user-generated content in a virtual world market. In 2007, Open Simulator arrived and started the creation of a system of virtual world grids. Connect for Xbox 360 has been hacked. The Oculus Rift head-mounted display is shipping. The history of virtual worlds is full of concepts and devices and a rich source of ideas. Your memory is a great tool for visualization. For a few minutes, imagine your favorite childhood space. Perhaps it was the dinosaur exhibit of your local museum or the corridors of your elementary school or your backyard. In your mind's eye, take a walk through that place, remembering the size and shape of each area and the objects, furniture, and architectural elements it contained. When you first perceive the objects in this environment, your brain made comparisons to other kinds of objects, comparisons of scale and shape, color, and outline. You may have been looking at the lighthouse and your brain was comparing it to other lighthouses or tall vertical structures. The objects in that environment have been stored in your memory. You may have seen a tree. Whether you call it a tree or arbre or arbol in your native speaking language, it represents a 3D form in your mind. And that form is part of the universal language of forms we use to create a virtual 3D environment. This collection of forms stored in your memory allows you to time travel to places that may no longer exist. As a designer, you need to allow yourself to be inspired by your encoded memories. Utilize your visual spatial sketch pad, your inner eye, which stores these forms for you and calls them back up when inspiration strikes. Rediscover this resource you have been adding to since you were a child and utilize it as often as possible when you are designing or teaching or just showing your children how to imagine new places. Complexity is made from simple parts. Designing what you want to do and where you want to take 3D modeling is often the most difficult aspect of a project. Every complex form can be broken down into simple geometric solids like cubes, spheres and tori.  That kind of exercise will strengthen your visualization muscles. This motorcycle model was made by Tim Wager, also known as Layton Destiny. He models exclusively in Blender, which is a free program. Starting with individual faces and lines, Tim pulled and pushed the faces around to form the hard body shapes. He extrapolated the more organic shapes from linear-based elements called nerbs until he had a perfect replica of his new motorcycle. Color affects your perception. In all cultures of the world, color has emotional overtones, spiritual meaning, psychological impact, physiological influence, and a socio-economic relationship. The most obvious of this is represented by the flags of each nation. Colors chosen for corporate logos, fashion, uniforms, and industrial signage are all fascinating examples of how color serves global marketing. Because blue is a universal color, it is often used in multinational corporate logos, such as IBM, also known as Big Blue. Every designer working must have an awareness of what colors mean in the client's native culture because it helps them communicate ideas with the client and ultimately supports the client's message. On the right side is an example of how color of the walls in a room can affect our perception of interior space. Notice how the red walls in the bottom image seem closer. Here is one place emergent design can start as you play with the psychological aspects of color. Lighting is part of the story. Images of our virtual world are made from a combination of the red, green, and blue diodes on the screen surface. These diodes, interestingly enough, mimic the colored sensing cones inside our eye structure that are sensitive to red, green, and blue frequency. When various amounts of these three colors are mixed, the entire visible spectrum and the interaction of perceived light is displayed for us on the screen surface. As you can see from the middle diagram, color temperature and the color of light changes dramatically during the arc of the day. It is measured by a standard called color temperature. This phenomenon is imitated in the virtual environments of Second Life with windlight and open sim with lightshare. During the midday period, the light has a color temperature of about 15,000 to 27,000 Kelvin and creates a cool color in the bluish range to our eyes. Conversely, sunset lighting produces warm colored light to our eyes but has a lower color temperature number of 2,000 to 3,000 Kelvin. On the right side of the screen, two images from Stanley Kubrick's films, Barry Linden and Eyes Wide Shut, have been recreated to display how color temperature in a virtual scene can be manipulated in a virtual world just as it was for these films in real life. However you structure the arrangement of lights or dial in windlight settings or change the materials on your forms, and no matter how complex the environment or structures or characters, your lighting must illuminate the meaning or purpose of this environment, support the moods, and augment the visual style. Sound as an environmental factor. The IEZA framework created by Sander Ubert and Richard van Toll is a useful structure to analyze and plan sound for virtual environments. They divided all the game virtual space audio into four categories, diagetic or sound coming from within the virtual environment such as your player's footsteps, non-diagetic or sound from a source outside the virtual environment such as a musical score, setting which includes things like surf sounds at an ocean beach and activity for sounds that are related to what's happening. Within these four categories they have defined four kinds of sounds. Zone, the sounds related to your position. Effect, the sounds related to your activity. Effect, the sounds related to mood. And interface, the sounds related to your actions and possible use of the HUD. While there is no specific recipe for creating a soundscape structure of a given virtual environment, this framework can be a valuable tool to help you analyze your audio plan. With IEZA you can see how storytelling soundscape was created in Second Life. The terrain of the Alchemy Particles region was subdivided and developed visually into areas that each defined an age or era in the history of a missing population. Each section of the region had a dominant category of sounds. As you plan your soundscape on the IEZA grid, think about what kind of sound environment you want to develop and how that would be balanced across the framework. For example, would the sound design of a virtual nightclub with live musical acts appear only in the interface zone or can it have some effect qualities? Does a god game environment with your avatar ruling over all creation and destruction represent itself mostly in the effect zone? Think in terms of how you want to balance the soundscape in your environment. One large interface sound effect might be enough to counterweigh a whole collection of zone type effects, or perhaps you would like to balance effect with effect sounds. The choice is up to you. Avatar and your presence in the virtual worlds. Your avatar, no matter what manifestation you choose, human figure, fire-breathing dragon, or enemy doll, is your center of experience. As you log into the simulator, your body is stretched or compressed, tinted or made invisible. Meshes and objects are added to create interesting things like wings and hooves. As you res into existence, many layers are added. First the shell of a shape and clothes are put on, then a gender perhaps not your own in the physical world, and finally the social layer that defines your online presence and availability for social contact. Avatars are the common denominator, the hub of your subjective experience. They are the heuristic framework that allows you to observe relative scale and spatial qualities of the virtual environment. They are representative, they are the representative through which you can participate in communication, and they are your co-creator in the shared story of the game. Be careful about choosing an avatar in cyberspace. A psychological and physical connection to our virtual selves runs deep in our minds. For many people, self-observation of their physical bodies and thinking of their avatar lights up the same areas of their brains during scans. The avatar is your first design in a virtual world. Huds and flow in virtual environments.  Given the popularity of HUDs, most avatars would probably feel naked if they did not have them on, and yet HUDs can block the view and disconnect the sense of immersion in a virtual environment. I have two questions for you to consider. My first question is, what kind of immersion do you seek for your visitor and how does your HUD design contribute to that? For instance, consider the minimized use of a HUD in games like Peter Jackson's King Kong. For much of this game, the HUD is not visible or much reduced, contributing to the cinematic feel by putting you in the movie within the game. My second question, how can your HUD be designed to contribute to flow? Perhaps you have experienced this sensation yourself, to be totally immersed in the world, focused on the task at hand, not cognizant of time passing, or even of your surroundings. This is the state of flow. Here we find an optimal mental environment for performance, learning, and creative expression. Your job as a HUD designer is threefold, to enhance the desire to take on a virtual challenge by providing HUDs that are beautiful and simple to use. To create a HUD that can be customized to fit the player's needs, including the capacity to turn it off or severely minimize it. And to create a HUD that visually and functionally integrates into the virtual environment so as not to interfere with the player's sensation of immersion. Narrative concepts in virtual worlds. Essentially, there are two ways to tell a story. You can talk about it, diagesis, or you can show it, mimesis. Both of these are going on simultaneously in most of the media produced today. In the center is your subjective experience.  You hear the narrative backstory when the avatars are role-playing, presenting a story, or even chatting in IM. All of this contributes to your temporal and spatial experiences in a virtual world. Your subjective experience can be divided by the effects of camera position, real-life interruption, your avatar's position in space, the internet connection you have, and other circumstantial things. In a socially-based virtual world, several kinds of narrative happen simultaneously. The personal narrative you are creating may contain someone else's first or third-person narrative, so the collective mix can be deep with meaning. Spatial structure and temporal structure are subjective in virtual environments. They are interpreted through the avatar, and that will influence the progression of the narrative. One primary example of this is called phasing used in World of Warcraft to selectively reveal or phase the content available to a player depending on the quests they have achieved. Collective narrative, when the audience expresses their point of view simultaneously, such as we do here in the local chat box, has begun to change the methodologies of storytelling. Your job as a designer is to support clarity in visual and audible narration. Collaborative space concepts. Breaking your design perception away from the mindset that meeting rooms must look like they're real space counterparts allows you to invent new usage patterns of a virtual space and new ways to communicate and engage. In 2007, Drew Harry from the MIT Media Lab designed a non-literal conference room in Second Life that looked like a football field and gradated in color from orange to green. Participants who agreed with the topic being discussed were to congregate in the green area of the field where it said agree. Those who disagreed were to be found at the orange end where it was marked disagree. Some of the images from Drew's designs are shown on the right. Fundamentally, the level of participation when supported by the environment increases when the environment interacts with the participants. Interactivity, when it is not complex or distracting, engages the attendees, asks them to communicate, and creates memorable experiences. So how do you focus the audience's attention? Direct their camera to collect the appropriate visual narrative and also allow them to connect with their social networks in meaningful, supportive ways. Three words to find the solution. Presence, affordance, and participation. As a designer, you support presence by the creation of high quality visuals and audibles for your speakers and guests. As a designer, you create affordance by designing objects that clearly indicate by their shape and position what their usage or purpose is in the environment. As a designer, you create participation by breaking through the presentation barrier and allowing the audience to interact with the presentation and the virtual space. Design the next generation of meeting places and help the participants focus on the speaker's message while relaying it out on their social channels. Prototyping, the real world in the virtual environment. Let's look at the flow of design ideation. Let's imagine you just finished designing a virtual environment for a new resort in the Bahamas called Octopus Bay. In your mind's eye, you look past the elegant, octagonal paper weights that were printed as promotional items from the 3D model and think about how you spent lots of time discussing eight-sided ideas with the client and your co-designer. Farther back, you remember eight-sided buildings and furnishings that were designed and how they visually supported the idea. And at the very beginning, these ideas were spawned by an interesting eight-sided goblet you created in SketchUp. The client was with you every step of the way, even from their offices in the Bahamas. In fact, they contributed some of the 3D design because they could get into the virtual world and rough out their ideas alongside you and your team. The proposal was a success. And even now, someone is looking at another interesting object and thinking of another project. Remember, a virtual world environment, all of it, is a tool. It is an assembly floor for rapidly making models that embody ideas made visible to people everywhere. It is also a perpetual idea generator that can create content through the process of iteration and modification. Terrain is part of the story. Our terrain defines us. We are mountain people, coastal dwellers, or plains residents. Terrain can provide our physical defense or force us to recognize our physical weakness. And throughout the world, sacred places on our terrain are a source of mythology or spiritual beliefs. Terrain in a virtual environment is 50% of the visitor's visual experience. A flat terrain fills most of the frame when the avatar's camera is in the default follow position. Just changing the landscape from flat into low hills adds more visual interest because it allows for the visitor to discover your space. Each landscape we create in a virtual world can define the story of a voyage. If you utilize that approach in your design, it will have a great influence on your visitor's perception of the environment and the contents you have built for it. For more aesthetic inspiration, to find the mood and personality in a landscape, look to the great landscape paintings throughout history. On the right side are two interesting landscapes, Shambhala, built by James Stallings here in Open Sim, and the Fractal Landscape by Mack Kanashimi, built in Second Life. Virtual Marketplace The three basic reasons why people buy virtual goods are one, to establish and customize individual identity, to communicate with others, and to compete with others. Customization starts with your virtual identity. No player wants to keep the look of a default character. They all want to express their individuality. Virtual goods such as skins for your avatar, clothing, armor, wearable accessories like hair and shoes are usually the first purchases a player will make and something they will continue to update. Communication is a basic human need. Virtual goods can be given as gifts to express love, friendship, and other sentiments. Even gestures are the currency of communication. Competition is also natural to human behavior. Invariably, people will want to compete to gain status and wealth in a virtual world. Virtual goods such as weapons, animations, magic spells, and the tools to make these are always popular. There are extensive online sites where players can buy various items to level up their characters in the games. As a designer, understanding the main forces that drive consumption of virtual goods will allow you to intertwine your virtual content with gameplay and maximize the profit from it. Build It Once. This chart illustrates the Build It Once content flow for design development in Second Life, OpenSim, and Unity 3D. You probably want to choose a 3D modeling software that is platform-agnostic so people can work with the operating system of their preference. This design method structure is focused around a shared content library, full of items with file formats that can be utilized by all the destination platforms. You should look for the common file formats that can be imported and exported from the software your team likes to use. Try to utilize the most common file formats in the DAE format and the Autodesk FBX and 3DS formats, and you will have fewer translation issues. Design for All. In our virtual worlds, we are at the crossroads of humanity. People of all ages and abilities are moving their avatars across your landscapes. It is especially important that you consider all levels of ability when you design a virtual environment and make sure that you have created access, invisibility, audibility, and mobility. A significant portion of the population is red-green colorblind. This can become problematic when you are using color to signal with, so always check your graphics with a color-proof plugin that allows you to see the graphic as a colorblind individual would. Also make sure the fonts and size of lettering is readable and in a good clear contrast. To make the signage even more accessible, you can add in proximity-activated sound clips that read the pertinent information to the visitors. Also, having an audio component to your tour vehicles will support accessibility. Make sure your landscape is accessible, your doorways high enough for cameras, and hallways wide enough for turning around with the camera in tow. Support the mobility of someone who may be using puffs of breath to move their avatar by making sure there are no places they can fall into or get stuck in. When you take a small amount of extra time to check these things, you assure yourself of a happier, more immersed visitor population. In 1996, Bob Kringley wrote, People care about people. We watch version after version of the same seven stories on television simply for that reason. While more than 80% of our brains is devoted to processing visualization, that's because that's how we most directly perceive the world around us. In time, all of this will be mirrored in new computing technologies. Bob Kringley was right. This progression towards visually based computing technologies is occurring universally. We are due for some major changes in our relationship with computing technology. Here are three major factors that will contribute to this new experience. The end of Moore's law, the increased adoption of haptic technology, and the increased customization of products in an interconnected world. In the process of writing this book, several technologies intertwined. The initial concept and project plans were developed for it on a quick light modeling system of SketchUp. Meetings about the design and content were held weekly in open sim and Second Life, and most of the figures that illustrate it were photographed in that virtual world using the client viewer Firestorm. This book would not have been possible a decade ago. A wise designer would plan for the future by learning about the requirements of the new technologies as soon as possible and incorporating them into their design methodology as soon as they can. As a designer in the virtual world, you may end up designing for the holodeck in the not too distant future. Thanks for watching. I'll take some questions now. Okay, if anybody in our audience would like to ask a question, there's your chance. Thanks, everybody. Nice of you to say this. Getting a lot of claps and applause there in the little chat. Yeah, I see. I think I see some people waving phone fingers in the back. What about designing 3D for 3D displays? Let's see. What kind of 3D displays, Neo? To James, Abraham, I do get into actual techniques. Each book, each chapter in the book has a project in it that focuses on what the chapter taught. For instance, in the sound chapter, you make a game that's entirely sound-based. It's all flashing by pretty quickly here. Man, and... Oh, I wish I could speak to that more timidly, but I'm not trained in it. However, I do think that our interface is just going to continue to get closer and closer to our body. Contact lenses... Google Glass is an inch away from our eyes. How much longer before we get contact lenses to have that? How much longer before we actually have implants? Scary as that may seem. I think that's what's going to start to happen. I also think that when that happens, our computing spaces are going to change to become more interspaces, and then how we share those will be a very interesting aspect to it. Perhaps it will be a virtual world we go into, simply share our internal experiences. I'm not sure. It's going to make for some interesting new manners, I think. Somebody else has asked, can we visit your sims? Yes, you will be able to visit my sims soon.  We are about to join up to the hypergrid. We have our own grid. We have our own 16-region grid, and 12 of those regions will be open. Let's scroll back up here to see if I missed anybody. Okay, for our in-world audience here, I'm going to paste the link to your slideshow there. So, if anybody wants to recap that slideshow, that'll be the link. Yes. First tips. You can go to the Taylor Francis site. I believe, and put an order in, pre-order it. Signed copies. I'd be happy to sign any copies. It's going to come out in print first, and then it will go out, come out as an e-book. I was thinking about a virtual book signing party and sort of having a real-life virtual party, a real-life book signing party combined with a virtual book signing party, but I haven't worked out the details. I'll put up the link for you.  Wearing them removes real-world clues that we depend on, even if only in a peripheral vision and prolonged use is making us ill. What can you tell us about that? Well, Mal, I agree with you. I'm the first one to get dizzy when I have to look at something 3D or I'm waiting for my Oculus Rift to arrive to see if that actually makes me as crazy as anybody says it does. You know, I think this is the kind of stuff we have to work out, and I think that ultimately we won't need to completely blank out unless you want to.  And for those of you who want to find out information, you can go to my website and there's a whole bunch of stuff about the book there. I'm typing it into local chat. We've still got a few minutes here, so keep those questions coming. I don't have any relevant questions coming in through the U-Stream, so our in-world audience here, you have the floor. A written version of the lecture. I was going to put an audio MP3 up on my slide share. I'm going to sound Jeanine Scarborough ask that question. Sounds like a good idea to me. Good. Because if you could actually see my notes you wouldn't be able to read them. Have you integrated the video and virtual world for entertainment, or do you see any limitations in entertainment viewing from an in-world experience? For example, music concert. Well, I think a lot of that subjective events, depending on what kind of bandwidth people have, what kind of screen they have, and all that stuff. Obviously, if you set yourself up with a big screen and a nice big pipe, your experience is going to be a lot better than somebody trying to do it on a laptop. I think the sound comes across pretty well. The visuals may not always be in sync or look a little sort of second generation, but I think in time that'll all be pretty seamless. In fact, I'm thinking in a matter of time we won't even really be putting it on a screen. I'm not quite sure what we'll be putting it on, but probably not a screen. Someone also said the rift will be a new way to do HUDs. So, how does that work for us? Yes. I know I've seen some of that talk about HUDs and rifts and it's going to have to happen. I think Keystone Bouchard has been working, John Broshoud in real life, developing a HUD to go with his Oculus Rift. He's one of the leaders in using the Oculus Rift with architectural modeling. I think I just saw him put up some stuff about designing a HUD for that and now you have to have it. Okay. James has asked, do you use real measurements or do you design things a little bit bigger so it feels a little more comfortable? There's an old sort of rule of thumb because if it looks right, it is right. But, you know, that's based on many years of experience building real. So, I would say that measuring is always a good idea and if it seems to be a little small, then maybe make it a little bigger. You can play with scale, which is one of the great things about this business is, you know, scale. Scale can be anything you want it to be. So, if you decide to make a psychological statement with scale and make the room small or cramped, you can say something with that. So, it's sort of a choice you have to make about whether you want to use it that way. Okay. David asks, are you doing any legit theater now, as well? It's funny you should ask that. Actually, I can't talk about it, but yes, that might happen in the not so near future. Okay. It takes a while to get a theater performance organized. And Nio says, at the moment, you put on a rift, it has to be on scale unless you adjust your avatar and camera. Uh-huh. Well, yeah. Okay. Okay, nothing to say on that then. Oh, thanks. Okay. If we have any more questions regarding the topic. I do. I am to be to talk around that a little bit. I am very interested in mixed reality. So, I always try to find a way to do one, something like that. Okay. Good. Thank you, David. You're all quite welcome. Thank you for coming. Yes, I think we're just about to finish with the questions now then. Okay, and shall I wrap it up there? Yes, please. Okay. Thank you, Annabel. Thank you for that great presentation. And as a reminder to our audience, you can see what's coming up in the conference schedule at conference.opensimulator.org. In this room, the next session will be how machinima can be used in the future. Thank you again to our speaker and the audience, and we'll be back shortly with the next session.


Act four of Galahad Jones by Arthur Adams. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Act four. The scene is the same as Act two, except that now the garden wall is topped with broken bottles, and the gate has been made impregnable with iron spikes, and in the garden, near the summer house, there is a dog's kennel. It is moonlight the same evening. The lamp at the corner is lit, and a few windows of the house glow through the trees. Horace comes down the street, looks round, takes out his watch, looks impatiently up the street, and generally shows all the anxiety of the ardent lover waiting for his girl. It is evidently a sweltering night, judging from the way he wipes his forehead. During the following scene in the garden, he waits about, wanders up the street and back again, and gives evidence of his growing impatience at the non-arrival of Cassie. Mr. Beach and the Doctor appear in the garden. Doctor, I've just heard something that you should hear before you see Sybil. How is she on this hot night? He mops his face. Wonderful, but she knows. Knows that she's going to die? Knew all along. She was in this summer house when you told me. Over three weeks ago.  There was something else that kept her alive. What? She's in love. That childish love affair? But you stopped it. I thought I had. But it has been going on ever since she heard. Not getting letters from him, surely. She's been meeting him here, at night, when we thought her in bed. But how did you find out? Sybil has just told me. She felt it was wrong to go on deceiving me. She said she could not die with that deceit on her soul. She is to meet her lover here, to-night, in a few minutes. Well, we can prevent that, anyhow. Why? The excitement. Doctor, she's been living on excitement for the last three weeks. That has buoyed her up. You gave her three weeks. At the utmost. I thought it would be sooner. Well, it's her love affair, I see now, that has kept her alive. Hmm, yes. I have known cases like that, but- Doctor, I want your permission to let Sybil see him to-night. I didn't know. I thought I was acting for the best. If only I had known at the beginning how I would have helped her. Doctor, you said there was one chance for her. Sybil has taken it. You said that the only chance was a miracle. Here it is. The miracle is love. Oh, that's outside my line. Still, to expose her to the excitement. To give her the shock of the disappointment? Why, she is only living on the chance of seeing him again. And all the time I was killing her. But thank God there was one man who stood by her. Her lover, of course. No, she hasn't even told him. Then who? A stranger to her. She threw over a letter to him, and he has helped her. Sacrificed himself, and all his prospects for her. He is a helpless sort of middle-aged clerk in my bank. And only this night I dismissed him. But I'll make it up to him. I'll give him promotion. He has saved my child's life. Not yet, Mr. Beach. Well, he has given her a few weeks of happiness. That's a debt I shall spend all my life repaying. I've done all I can. Let her meet him. If we don't, the disappointment may end it. There's just the bare possibility of the miracle. But we must be here, in case. We'll hide in the summer-house. But how does he get here? Over that wall, or over the gate. But those broken bottles, and the spikes on the gate? I put them there, not knowing. I even got a dog. Pointing to the kennel. But tonight the kennel is empty, and the gate unlocked. He'll be here any minute now. They enter the summer-house. Gullahad hurries down the street. Gullahad, seeing Horace. Mr. Lowe, Leon. Mr. Jones. You're waiting for Kathy. How did you know that? She's my daughter. Kathy? Your daughter? I knew her name was Jones, of course. But then it's such a common name. That's all right. I wouldn't let Kathy come tonight. I wanted to ask you some questions. Do you love her? Oh, yes. Honest I do. I've asked her to marry me. What about Sybil? Sybil? Oh, that was nothing. I've not seen her since that night in the garden. Really, Mr. Jones, there was nothing in that. She likes me, and I thought at first it was good fun. But then I met Kathy. But Sybil loved you. She thought she did. So did I, till the real thing came. I'm sorry if Sybil's taken it seriously, really. And I was to blame at first. But how could I know I was going to meet Kathy? When I met her, I decided not to see Sybil again. But she made me. But you'd needn't fear I'll ever see her again. You must, tonight. Why, when I love Kathy. No, I'm hanged if I do. Sybil is dying. Dying? Sybil, it's impossible. You're kidding me. For all I know, we may be too late. She must see you once before she dies, tonight. No, not even once. What have Kathy found out? She won't. You've got Kathy all your life. Sybil has only tonight. Give her this night. She loves you. She passionately believes you love her. That belief has kept her alive.  And if you don't see her now, she'll guess the truth.  All I ask is that you keep up the pretence one night longer. After that, it will be too late. No, Mr. Jones. You have no right to ask me to pretend to love her. It will be easy. With her great belief in you, you could not be so cruel as to snatch her last illusion from her. Sybil, to die.  If it had been Kathy. If it had been Kathy, could you under-see her just at the last? Wouldn't you, at whatever cost to yourself, have let her go to the end with her illusion? Perhaps it is too late now. Perhaps she will never come to the summer house again. Give up this one hour to her.  I'll go. I knew you would. The wall, those broken bottles, will try the gate. He moves up to the gate, followed by Horace. Why? It's got iron spikes on it. We'll never get over. Oh, we must now. They try to climb the gate. The butcher appears in the street. He is carrying something wrapped up in a newspaper. What-o goes slow. There's a dog. A dog? Come on. I'm not afraid of a bite. I've brought a little present for the dog. Dog's meat. I always carry it. When I'm out love making at night, it sorta smooths the way. Wiping his face. Sure, it's hot.  Wish that southerly had come along. But how are we going to get over the gate? I suppose it's locked, all right. Never tried. Butcher. He tries the gate and opens it. It's not even locked. That's curious. I don't like it. It's a trap. There's a policeman inside. You leave the policeman and the dog to me. I'm accustomed to dealing with them. I was forgetting I've got nothing to lose now. Come on. All three into the gate. As they are doing so, M and Kathy appear in the street and come stealthily down. They went in there. Finding herself with the bag. My, but it's hot work chasing deceivers on a night like this. Mother, that was Horace with them. Horace? Who's Horace? My boy. Oh, and he asked me to marry him. And out on a loose with father? Oh, my Kathy, don't worry yet. There may be an explanation. If not, there'll be two hearts broken tonight. And one head. They enter the gate. The Butcher, Galahad and Horace, who have made their way slowly and cautiously through the trees, now come down the path. The Butcher leading. They stop at the kennel. The dog. You go. Righto. He takes his parcel of meat and approaches the kennel. Good doggy. Good doggy. He looks in the kennel. No body at home. Righto. Galahad and Horace come up and look in the kennel. While they are doing so, M and Kathy come quickly but quietly down the path and conceal themselves in the shrubs. That's funny. I don't like it. Is she in the summer house? No. She would have heard us and come out. The Butcher looks into the summer house and draws back with a start of surprise, but says nothing. Galahad. The Butcher. We'll hide over there. She mustn't see us. He leads the way down the steps. I'll wait here. He waits near the kennel. I say, boss, do you know there's two blokes sitting in that there's summer house? No. Two men. Ticks they look like. Did they see you? Must have, but they didn't say nothing. Policemen. I knew it was a trap. I'm going to find out. He pauses as he looks up the path from the bottom of the steps. Ah, Sibyl. A white figure drifts down the path. It is Sibyl, deathly white, clad in a wrap of lacy likeness. She comes slowly down almost two weeks to walk and pausing at the top of the steps sees Horace. Horace, at last. She goes quickly to him and embraces him. I knew you would come, dearest, and now it's all right. Kiss me. Horace unwillingly kisses her. Cassie, starting forward to Emma in a whisper. Horace. Mother. My heart's breaking. Breaking. Emma, her arms around Cassie. Hush, child. It was better that you should know. Hush, dear. I'll look after you. But why, that good-for-nothing father of yours doesn't stop it, I don't know. Wait. We'll see it out. She draws Cassie back to her arms. You did not come, and I have waited so many nights, but, ah, it was worthwhile waiting for tonight. Really, Sibyl, I couldn't come before. I couldn't get in. Three weeks. Three long weeks of waiting. I was afraid you would be too late. Oh, my love, my sweet. How I love you. Dearest, I am all yours. Take me.  Gullah had to the butcher. How tired she looks. It must be very near now. Thank God we came in time. Say, boss, feel that breeze. It's the southerly coming at last. Ah, the southerly, thank God. The cornice will revive her. Sibyl, with a puzzled look, lifts her head, and gazes long into Horace's eyes. But you're different tonight, Horace. There's a coldness in your eyes. Horace attempting to draw her head down on his shoulder. No, no, you're imagining.  It's just the heat. If only the southerly would come. Swear that you love me more, more. More, Sibyl, more than I ever dreamed of loving. Cuthi, to Emma, broken heartedly. Ah, mother, mother. Emma comforts her. Good boy, he's playing his part. Oh, how could I ever have doubted you? But the long, long waiting. My heart cried out so for you, my dearie. But now, with your strong arms about me, Horace, I know how foolish my heart was. I've—I've not been very well, dearest, and I seem to need you so much more. I thought that only your strong arms could hold me up. Only your strength could keep me from death. But now— Breathing deep and looking up. Did you feel that cool kiss on your cheek, Horace? It's the good southerly at last. A breath of coolness. A word from the great world outside has come over the wall into this stifling garden. Ah, it's good.  Suddenly straightening up. I see the truth. With a sudden cold suspicion. You do not love me any more, Horace. I know. I see clear. Horace stiffens himself as if to speak, but with a despairing gesture, restrains himself and attempts to draw her closer. Sibyl with an agony of doubt in her voice. You don't say you love me. You cannot say it. You cannot. I cannot, Sibyl. Kathy incredulous to Emma. Ah, it's me he loves. Oh, forgive me, Kitty, but I cannot. I have tried not to let you know. Try to keep up the make-believe for your dear sake. Mr. Jones made me for your sake, but this southerly has cleared the air. I cannot go on deceiving you. You would not want me to go online, Sibyl. You could not. Beach appears at the door of the summer house followed by the doctor. Beach attempts to go to Sibyl, but the doctor restrains him. They stand there watching, as all the others are watching. You do not love me any more. Standing proudly erect. Thank you for letting me know in time. I might have gone on deceiving myself till. I think I must have known all the time, but your love was all I had, all that I wanted to take with me. You never came, but I would not let myself believe. My heart hurt me so, but now I know I can be brave like you. How it must have hurt you to tell me. What could I do, Sibyl? What could I do but go on? There is someone else. There is someone else. But how? When? Over a month ago. A whole month? And so all these three weeks it has been only make-believe. And your letters, I never got your letters. I never wrote. I couldn't, when I knew. You might have written. I did not guess you cared so much.  Mr. Jones made me. He made me promise not to under-see you tonight, but I had to. Sibyl, angrily. He thought me a child, as if I couldn't have borne the truth. See how bravely I am bearing it now. He thought only of your happiness. Yes, yes, I see it now. After all, my dreams were best. I see he loved me. With a bitter laugh. Ah, I see now he was the only one who loved me.  You really love her. You're not deceiving her, too. Gullahad has moved across to the bottom of the steps. I love her. I'm going to marry her. Sibyl. With a wail she sways. Horace moves to support her, but she repulses him with an outstretched arm and recovers herself by a supreme effort. No, no. Not you, now. Not you. She sways again as if about to faint and looks round for help. Gullahad rushes up the steps to her. Ah, you, my knight, my true knight, take me, my sir Gullahad. Gullahad, taking her into his arms. Poor child. There, there, there. Sibyl. Looking up into his face happily, proudly. Ah, you love me, my sir Gullahad. She faints in his arms, dying. Gullahad, supporting her, is aware of other figures. Em and Cassie have come up the steps. The butcher is waiting near. The doctor and Beech are on the other side. Yes. It's over. No, no, doctor. She's only fainted. No, it's come. It was bound to come, anyhow. He takes Sibyl's body from Gullahad and with him lays it on the grass, examines her and rises. It was her only chance, and it failed. You are not to blame Mr. Beech. Nobody is to blame. Life has been drained out of her body long ago. It was wonderful that she was spared so long. I can do nothing further. I'll send the servants down from the house. He goes away. The butcher follows him up the path. Beech on his knees over Sibyl's body. Sibyl, Sibyl, my pretty, pretty child. Emma to Gullahad, putting her hand in his. I see now. Not all, but I see. I mistrusted you, Gally. It was for her poor thing, and because she was in love. I see now. Forgive me, dear. That's all right, Emma. If only I had told you at the first. Forgive me, Horace. I doubted you. She, she is very beautiful. Horace, aghast. Cathy, I murdered her. No, no, boy. Take Cathy away. Come, Horace. She leads him away. Beech looking up. Mr. Jones, I owe you all the little happiness she has had.  How often have I come to the nursery and seen you asleep like this. Rises, blankly. I prayed for a miracle. They said love was a miracle. There are no miracles. Emma, softly to Gullahad. Yes. A miracle has come to me. Ahem, come away. We must go back into the world. Her lessons are over. We have yet to learn our lessons. Into this pitiful world sometimes there comes a miracle. The miracle called love. We have learnt what love is, dear. They go out up the path, hand in hand, leaving Beech kneeling beside the body of Sibyl. Curtain. End of Act Four. End of the Comedy. Note. Should the theatrical manager demand his pound of flesh, the author has written, very much against his will, an alternative happy ending in which Sibyl recovers. But he declines to print it here. A-H-A. End of Gullahad Jones by Arthur Adams.


What do you feel about away in that four-poor defense? I haven't looked at the film yet. But trying to think, maybe mixing in some coverage is over and under. I think we kind of got into our rhythm of doing the same thing. And I think guys like Damar and Zach, they don't figure it out or whatever. So maybe mixing up how we guarded them in the picking row for us out there together, like us just talking through it a little bit more. I don't know how I haven't really looked at the tape yet, but it's definitely always a room to get better. And no excuses. But we definitely didn't shoot the ball. Great. I miss a lot of shots that we normally make in the second half. So I feel like then you go to the other end and they were making shots that they normally, some guys normally don't make. So kind of the perfect storm. But we can watch them and always get better. How did you start this season? Is this what you visualized in the off-season? The chemistry being on point, the guys finding you, delivering the way that you had? Like you said, when you lose, they really don't matter. But I'm just trying to play my game and trying to bring something to the team. I was a little rusty on the block in the second half. So I'm definitely disappointed in my play, trying to adjust to this new, we ain't making no calls, rules or whatever it's called. But I think it was a couple of plays. I normally get the foul, but it is what it is. But I'm just trying to help these guys out there and try to block shots, rebound, just try to score. I think that's what I do. So just trying to be consistent with it when I'm out there. And like I said, I think I was a little rusty on the block in the fourth half. Like that's when they started to make they run a little bit. I was going to say, in the fourth quarter, the offense when Cole scored us for four minutes and shot over 20% for the quarter, was that fatigue setting in? Or do you think maybe after you guys were going inside and not getting the calls in the first half, maybe you guys went away from that a little bit in the fourth quarter and didn't get the penetration? No, it says fatigue or not getting the calls. I just think we had some turnovers. There were a little bad at times in the fourth. I don't think we kind of attacked the game the same way in the fourth as we did in the first half. We kind of let James do his thing on the island a little bit and he was dropping off and finding guys. And we had them in pick and roll a lot because I don't think they really figured that out in the first half. So I just think we just kept going through our progressions and our package. And we ended up going to some stuff that we really didn't get much out of. But I wouldn't say it was a fatigue or guys weren't getting calls. You can't make every shot, but you've got to keep playing.


Welcome to the CORE Report. I'm Corporal Ali Beislinger and I'm Lance Corporal John Tucker. The Marine Corps Infantry Officer course is known for its grueling standards. On average, 20 to 25 percent of the course's candidates are dropped. Second Lieutenant, Sage St. Angelo, one of the 14 women who have entered the course, pointed out in an article she wrote that females have not been given the same chance to retake the course like their male counterparts. Coming down to the Marine Corps, General James Amos noticed the discrepancy and quickly fixed it. A new app from the Marine Corps helps you stay ahead of the curve when it comes to wearing your gear in the field and in garrison. The official Organizational Wear app features a few tips and tricks to make sure you're squared away. You may be surprised at what you didn't know. For example, did you know that you were allowed to wear your frog undergarments in garrison? I actually didn't know that. Maybe you should get the app. You should get the app. The app is now available for Android users and is coming soon to Apple products. Check out the link in the video description to learn more. Marines and sailors of the 3rd Marine Expeditionary Brigade recently headed to the Korean Peninsula to kick off exercise Songyeon. With a combined force of about 13,000 troops, 20 ships and 55 aircraft, this is the largest force in the history of the exercise. Operations such as amphibious landings and MV-22 vertical assaults shows how Marines can operate successfully with their Korean counterparts. To learn more, click on the link in the video description. Remember, you can catch up on everything else going on around the Corps by logging on to our official social media sites. Those links are in the video description. Thanks for watching guys, we'll see you next K-Day. Right here on the Corps Report.


everyone Shaber 1000 here we've got another episode of trying out these ramen noodles here from Boldac this is the it's the artificially spicy chicken flavor ramen this is the kimchi that pronounced right okay so we're gonna try these out a little stir-fry and see how these ones are let's check it out together hey guys so as always I know you guys like to see the the nutrition facts on here so I will give them to you you can pause to read if need be okay now what the hell I thought that said hentai anyway this video is about so for my people that are just joining me for the first time I'll read the instructions we're going to just like they say put noodles and flakes into the 20 ounces which is 600 milliliters of boiling water and cook for five minutes please remove the water remain five tablespoons of water is once you leave about five tablespoons in there and put liquid sauce into noodles stir fry for 30 seconds stir well and serve that's what we're going to do I'm gonna go ahead and I'm gonna get the water ready see this one I might have been doing it wrong all this time I don't know it says put noodles and flakes into 20 20 ounces of boiling water and cook for five minutes have I been doing that or have I just been putting it in now I think I've been yeah I think I've been letting it come to a boil first so anyway let's get everything set up and let's get to cooking these up okay we'll put our flakes in I'm gonna tell you what these flakes smell good I'll bet you that would just flavor it enough on its own and flakes but the red package this is what gives you your spice okay so let's go five minutes and start wow that smells awesome okay well see you guys in five minutes for me okay we've got our walk up here we're gonna put some water in it that's five I measured that out that is five tablespoons remember it's Roman guys it does not have to be perfect just cut in the package open here go now give that a little mix let it get nice and warm now we're gonna put our noodles in stir fry these for about 30 seconds you can time it but you don't have to it's like I said we're not working on the space shuttle or anything like that we're making ramen right okay I'm gonna go ahead and put this in a bowl now and I'll bring you over here and show you what it looks like just a quick mention of this walk all I did was rinse that out with water and I got it on this hot burner which is cooling down and once it's completely dry it'll change to a dull color and then I'll just wipe it down with some oil good to go okay guys this is what we've got here all right we'll stir these up and again this is what it is so what we are reviewing today all right now like I said I can't get my I can't get my fingers to work right anymore but I still try okay let's get here use a shot my chopsticks are still in there so I love these things man they were awesome okay here we go nice piping hot center there we go sorry about the light behind me here we go guys gonna get another bite of this there's heat it's spicy this one is more spicy than heat I like it now that the flakes I put in I can taste that the taste is what I was what I smelled so it's flavorful there hasn't been one of these I haven't liked so far so this is fantastic good drink I'm I feel a hiccup starting give me another little bite here and monkey picked me picked these out for me before she went to hospital to see her mom she should have waited on these ones it's still got two more packs I think we did one pack before I'm not sure but wow I'm going a whole hog on this one guys I'm giving it two thumbs up five out of five star they're that good my eyes are watering I got the hiccups let me get rid of my hiccups and I'll be back with you okay guys I'm back so during the break I couldn't help but I went ahead and finished it up again two thumbs up five out of five stars for me this is not the hottest but it is up there with one of the most spiciest so the more you eat the more spicy you get alright guys so glad I got a disclaimer at the front of my video because I can't believe I thought that said hentai for those of you that don't know what it is Google it and if you're under 18 watching this one you shouldn't be well hentai is the safe bird of Ohio movie reference stay tuned tonight we're gonna do another walk Wednesday and we'll be making some chicken wings and noodles so anyway so much for monetizing this video she bears a man legend I'm gone for now bye bye guys we'll see you in the next one


Welcome to the second part of the Human Factors Session in the Software Engineering course and in this module we'll focus on the topic of diversity and inclusion in software engineering. We will start by discussing what these terms actually mean, so what is typically understood when we talk about diversity and inclusion but also concepts like equity. Then the question why should we actually have this in a software engineering course? What does this have to do here? Why should software developers care? Why should organizations care about diversity and inclusion aspects? Both from an ethical point of view but also from purely economic or social points of use. So these are the two points we'll cover on and just give a very quick overview of what the topic really is about in software engineering.


Changes to Queensland Tenancy Laws start on October 1, 2022. These changes give everyone tenants, property owners and property managers more certainty and transparency around their tenancy arrangements and decisions. If you're a tenant or a property owner, it's important that you understand how these changes affect you. One of the changes is how tenancies can be ended. New laws ensure tenancies can't be ended by a property owner or manager without approved grounds, such as preparing a property for sale or choosing to move in. Tenants also have additional reasons to end a tenancy, such as the property not being in good repair or a co-tenant passing away. There are also changes to requesting a pet in rental properties during a tenancy. The RTA has a new form for tenants to request approval to have a pet. Owners must respond within 14 days and need to specify a reason under the new laws for refusing a request. New changes also include a new pathway for ensuring repair work is undertaken in a timely manner, with tenants able to seek a repair order if reasonable timeframes are not met. The value of emergency repairs that a tenant or a property manager can undertake if the owner can't be contacted has also been increased. Remember, these changes start on October 1, 2022. Please visit our website to find out more about how these changes will help to make sure renting works for everyone.


For those of you that aren't as familiar, I'd like to say that zero-knowledge proof started digital signatures as Ethereum is to Bitcoin. We're replacing a digital signature with any program, right? And the thesis of sort of ZKML is that the most interesting program actually to put in a zero-knowledge proof is a machine learning model. And the reason for that is that it makes it as though the model, the AI, is actually running on chains. So we're giving intelligence to Ethereum or whatever chain it's running on. And it's kind of like we're giving it eyes, ears, sensory organs with which to perceive the physical world, with which to make decisions about physical reality and the most important bits of physical reality to us, which are the humans, right? What our intent is. So it makes it possible for humans, not just field elements, to control their destiny on chain, to control digital assets. So I'm imagining that in the future, we'll be able to say, just like we talked to our smart speakers, hey, Ethereum, please transfer 10F to Althea, and that will work, right? Because some ensemble of machine learning models will be able to combine all the signals of my intent, all the data exhausts that I've given off in my life, and decide whether that is true or not. For a human, that exercise is trivial. If we've talked for 10 minutes, and I make that request two years from now, you'd be able to authenticate and send that message. The fact we can't do it yet with Ethereum is just a technical problem. And finally, you could think about it as a way to let smart contracts exercise judgment, right? Deal with any kind of ambiguous situation, decide if a contract is satisfied, decide if a news story says that a hurricane has hit the coast, that kind of thing. And this little chart here is just a reminder that both the input and the parameters we can choose either private or public. And all four of those squares are interesting. Everything's public. We can think about the news model, scalable oracle. If everything is private, maybe we're thinking about decentralized Kaggle or some kind of medical situation where, on the one hand, the model has to be kept secret for reasons and the patient data has to be kept secret. So what we've built is a program called Ezekiel. It is a tool to turn onyx model, which is an export that you can make from PyTorch or TensorFlow. So a baked machine learning model that's been trained into a zero-knowledge proof. We can prove and verify at the command line, export to a binary or smart contract or a wasm. We're adding new layers to it daily and it's enough for sort of small production models. The scale is increasing very quickly, sort of two to eight times a month depending on how much time we choose to spend on optimization as opposed to adding features. And I expect that we'll be able to do some really exciting kind of identity stuff within maybe six to 12 months, maybe sooner. And we've been building in the open since July. It's Apache 2.0 license and that's the repo. We would love any contributions from you if you find this interesting. So here's an example of the kind of thing we can do right now. If you like Python, this is very relaxing as opposed to writing circuits. You can define a forward model X, Y and Z or tensors there with a shape that's determined at runtime. And I can just sort of define somewhat arbitrary functions of those tensors, matrix multiplications, powers, non-linearities, compose them, and then the tool will translate that into a determinate quantization strategy, figure out the runtime shape of the tensors and translate that into something that can be run as a zero-knowledge proof. So the pieces we can do right now are sort of to describe what we're going to do, do a mock or a full proof, as the back end is all halo two. We can do a complete a proof and we can verify a proof. And then there's some sort of technical parameters. This is an applications talk, so I want to kind of give you a sense of what's possible and then we'll talk about what applications are cool. Right, so this is an example of computing the table from a very simple model that just has an input, a weight and a bias, a matrix multiplication and a relu. We can do a proof, looking at different back ends, proving back ends, and we can do a verification. The proof will construct a file, a little JSON file that contains the data of the proof that you can upload to whatever the verification thing is, and then you can run also at the command line a verifier to check that proof. And okay, so now we go back to applications. I always like to show a little bit of code so that we can think about kind of what is the, what is, what stimulate imagination. But I like to think about this as kind of allowing scalable automated oracles, right? So there's three stages to that. The first stage is ingesting some kind of signed data. Now it works fine with not signed data, but there's sort of an adversarial problem. So we need to somehow rate limit the amount of data that's coming in or make sure that it's been signed off on by like say a news organization or camera or something like that. Then we run a model, maybe it's a text model, maybe it's image classification. It makes a decision about what the data was. And finally, there's an on-chain verification that then feeds back into the sort of attestation loop and can be used in the next model. So interesting things in the sign ingestion. This is, this thing, this space is really in an interesting stage. So there are solutions. There's something called a SXG, SXG, which is a signed HTTP standard promulgated by Google kind of replacement to AMP. There's an NGINX plugin. There's a one-click button on Cloudflare. A lot of people promise to do it. Almost no one has. There's email. There's a few other people from Direct Park that have worked on the email that you can hear about from Mayush. There's images at the publisher.  And then there are third-party notaries, like TRS Notary lip protocol, that you can use to create signatures as sort of a semi-trusted third party. And they all use things that we can now verify. But I think we're going to need an industry to push like HTTPS to push everyone to sign their data. It's technically easy. It lets us compose things in zero-knowledge proofs, but people just don't bother to do it right now, although they've all promised to. So the second thing is the text models, classification, and what kind of models can we build. And that's sort of a scaling process. You describe our roadmap as kind of ontology recapitulates phylogeny, which is to say, we look at all the models that have been built over the history of machine learning, and then you can download them. You try to run your tool on it. It doesn't quite work because they're scaling problems or quantization problems, or because you haven't implemented all the nodes. And then you fix it, right? And then you repeat. So as I said, open source project would love you to join me on this rotation. And then we have to worry about scaling. And there's kind of five ions that we use for scaling. So optimization, I won't say much about that. I think you will talk about that a little bit in his talk. Aggregation, which is a tool for combining multiple proofs into one proof and checking it once. Recursion, which is being able to verify the last snark inside the new one. And that kind of lets you do something like doing a separate proof for each layer, right? That gives you another scalability tool. And between aggregation and recursion, what you're going to see is instead of memory constraint, which is what usually the problem is for the size of the models we can handle, it's just money constraint, right? How much computation would we like to spend? It has a lot of overhead, but it kind of eliminates the limits on how big a model. That's why I can make grandiose claims about the size of the model that we're going to get to. And then finally, fusion is kind of the strategy of once we have a higher level understanding of the intent of the programmer, the computational circuit that they're expressing in Python or whatever, it's easy to swap out more sophisticated zero-knowledge arguments instead of looking at the level of constraints. I look at the level of matrix multiplication or convolution, and you can use those arguments and make it invisible to the person who's created the machine learning model. The machine learning model doesn't change at all, but it kind of gets faster and faster in the back end. Right, so finally, on-chain verification. This is, as I think you've heard, severely constrained by the preco-piles we have available in Ethereum. And a lot of the strategies just getting it to fit into a BN128. So the way that it can be done now is you have, and probably the future, honestly, just because of the nature of zero-knowledge proofs, is you have a first stage, which is some sort of input, and then you have easy to make yet hard to verify proofs, sort of wide proofs. Those proofs are aggregated using an aggregation strategy, which might require a fairly hefty machine. So one example I did use, 450 gigabyte machine RAM, and then that produces it hard to make, but easy to verify proof that you can then be checked on Ethereum. And right now it costs about 600,000 gas to do that. But there's some things that we should hopefully improve that over time. Right, so putting all this together, what do we get? We get kind of this scalable on-chain data feeds. You can sort of think of it as, oh, Ethereum can read the news, or instead of having a network of nodes that make a decision, like in Chainlink, about something that's happened, and then vote on it. And then there's a complex crypto-economic process by which they penalize people who attested wrongly. You just have one person, they download the signed data from Bloomberg, they produce the zero-knowledge proof, they upload it, and now everyone can trust that information. So that enables a much more scalable firehose of data coming from off-chain from Web2 to on-chain. And it's my belief that ZKML will actually be table stakes for chains over the next sort of five to ten years that while delivering on this promise of blockchain to a mass audience means that we really need this kind of a human, not a field element owns all my assets. There's lots of solutions I've heard at this meeting towards that, and this is part of that. You can imagine, for example, when that account abstraction starts working, that part of the account abstraction check that you're doing is to submit a zero-knowledge proof of your identity, using this kind of 10,000 factor everything about me as one of the pieces. So ZKML oracles will be simpler, faster, and more scalable to put arbitrary off-chain data on-chain and just, I think, really opens the firehose to what we can do. And finally, as I said before, a ZKML model you can think of as a smart judge that interprets ambiguous events, and in the remaining two and a half minutes, let me just talk about a couple of examples, ideas of things that I hope people will build with this. So one that's sort of timely is ZKKYC, right? So we can take a person and an ID and prove that they match, and that the ID number is not in some sanctioned database, right? Of course, that's technically something we can do very soon. However, regulators won't accept it, right? Banks have a KYC rule. It says specifically that they have to know the customer, not that they have to know the customer is not on a sanction list. So it seems like it won't work. However, maybe if we had done that, it would have prevented the tornado sections, right?  It lets you run faster than your friend when the bear is chasing you, or at least lets it, does something to prevent unwanted actors from interacting with your contract. So even though it's not perfect, it's interesting. I talked about prediction markets. You could imagine setting up a contract that pays if a news story classifies to a particular thing. Someone won an election, a hurricane of a certain intensity hit a coast, a car received a lot of damage, and then a small classification model because it's relatively few classes can be used to decide whether that happened, and anyone can download the science story, run the model, submit the proof. Another thing is kind of fraud checks. So gut checks for smart contracts.  A brief humanity, for example, would work, but lots of other kind of fraud checks or checks of the state of the network. You could imagine getting baked in a little bit like civil protection, but it's okay if it's weak because it's just a layer of security. I think it's exciting to think about this as putting the A in DAO, so really taking a situation where humans make a judgment over what happened, vote, and then some multi-signatories actually execute that judgment, and actually putting that all with an effectively on-chain AI, right? So instead of working for a DAO together, we all work for the all-knowing AI in the cloud. Should be good or bad, but interesting. And, you know, I could use, for example, to test whether someone who promised to do some work for the DAO did a good job, did the work, right? You can imagine making a classifier that did that. You can think about using it for genetic screening situations where, for example, the model has to be secret because it's been trained on non-consented data. The data has to be secret, you know, just like when someone wants to get an STD test or something, they would like to choose whether or not to reveal it to anyone to maintain anonymity. So that's another application. And, finally, it composes well with not just MPC, but also things like differential privacy. You can imagine a data owner, and this says I can do it, blockchain necessarily, but you can imagine a data owner that wants to protect their data. They can release noisy summaries in a differential privacy sense and then receive, the querier can run the model and torture the data and send a final query, which can then be run in a proof to show the real model that's just the commitment. It was used to create the noisy marginal summary, and when it was run on the data, it produced the real result. Okay, so I think I'm out. Thank you. Thanks, Jason. Jason, if you want to take one or two questions, while Yi Sun gets set up, assuming he's here, here, hello. Yi Sun is going to talk about another aspect of DK Machine Learning, specifically in neural networks, but did I see a question over seven questions? Yep. Machine Learning models are often kind of already black boxes. How do you verify that the right Machine Learning model did the prediction or the verification? Yeah, you can commit to the model. So that's particularly easy when the model is presented as an onyx file. You just take the hash of the file, and that's your model, for example, or you can commit to the parameters themselves. So you make some kind of basically a hash of the parameters or hash of the whole thing. And that's how you know it's the model you want it to be. Do we have one more quick one? Everybody else can take them offline. Sorry. Really cool stuff. Has the CK KYC sort of being worked on? Is that a theoretical possible application of something like this? Or like, what's the state of? Yeah, I'd say it's absolutely being worked on. I think it will be a little while before it's feasible. But, you know, it's definitely something that I expect to see probably multiple people create in the next year.


Is Vegan Games a liar? Did he set me up for failure? Did he mislead me? Kind of. But I don't have any regrets about the live stream. I just regret not doing a makeup check because the only comments on that video are, oh, he's wearing makeup. So we'll do one at the end of this video for you guys. But you know, this whole premise of this, I was very upset with because we only really argued two points and I wasn't prepared because he didn't link me with these studies ahead of time. And it literally took me about 10 minutes of research on my own time to debunk these, which, you know, under the stress of the live stream and him talking to me, I wasn't able to find this information too easily. I wasn't able to find it at all at the time. So the first point we really argued back and forth on for about an hour was atherosclerosis and heart disease in ancient populations. It was pretty much this study done on four groups of people on the mummies that said, okay, they had atherosclerosis and Vegan Games used it as a blanket statement to say, oh, all indigenous groups, all hunter-gatherers have atherosclerosis, which is completely crazy blanket statement. And he said, oh, the diets of these people didn't matter and he didn't know what they were. And I found this. They followed a diet rich in vegetables and seafood, free from saturated fats, therefore with low risk of developing atherosclerosis. And they were intensely physically active. So by all standards, why did they have atherosclerosis? Well, they didn't because the anatomy can be strongly altered by post-mortem events. The walls of the vessel might collapse, dehydrate and have the appearance of calcific thickening. For this reason, the X-ray CT pattern alone is insufficient and diagnosis should be supported by histological study, which is like dissecting it, which they didn't do.  And that's why I made the joke. Let's take a plane over to Egypt and go look at some mummies. I thought it was completely ridiculous, but apparently no one else did. I also linked a study showing, it is speculated that the Messiah are protected from their atherosclerosis by physical fitness, which causes their coronary vessels to be capacious. And that was the study I linked, but I also found two more studies on this research. Low levels of serum cholesterol and no evidence of arterial sclerotic heart disease in the Messiah. And another study showing that they are nearly free from atherosclerosis eating nothing but milk, meat and blood. So two more studies to prove that point. Now, before we go into the second discussion, which was how heme iron, his idea was that heme iron caused oxidation of LDL. And we touched on the N-nitroso compound thing, which he knew way less about that than me. He couldn't bring up the heme iron debate in regards to nitrates and stuff because I would have smoked him on that and I kind of did. Like I shouldn't have said it early on that I knew what that was and explained it so easily early on. So I kind of maybe, the one thing I had on him, I kind of threw out the window early on, but before we go into these other studies, we have to understand junk science. And Dr. Darren Schmidt did a great video on this last week. I actually watched this.  And this is why. In adequately designed studies, we can be reasonably confident about big relative risks. Sometimes, we can only be guardedly confident about relative risks estimates of the order of 2.0. And occasionally, we can hardly ever be confident about estimates of less than 2.0. And when estimates are much below 2.0, we are simply out of business. Epidemiologists have only primitive tools, which for small relative risks are too crude to enable us to distinguish between bias, confounding and causation. And he also spoke about other reasons that studies are invalid is if it's not an observational study, we ignore it. It's a food questionnaire. It's not reliable. The relative risk, what we just talked about, and then the dosing could be wrong, which means it could be unrealistic. And there could also be something wrong with the method, which I don't see here, at least in my understanding. So let's look at the heme iron studies he linked me. First study, heme iron intake, colorectal cancer, French woman, dietary intake was measured by a semi-quantitative food history questionnaire. So that study is out the window. Ironing cancer risk, a systematic review and meta-analysis of the epidemiological evidence, relative risk, 1.0 to 1.17, relative risk is too low. We're out of business. Is heme iron associated with risk of coronary disease, meta-analysis, relative risk way too low, out of business, dietary iron intake, risk of type two diabetes, relative risks way too low, out of business. OK, so I'm going to put all those studies in the comments. Just real, I'm going to put everything in the comments for you guys. Don't worry about that. But this was the study that he based his whole argument off of. And he said that heme iron causes oxidation. They didn't use heme iron in this study. They used iron sulfide or something, so I don't know why he was saying that. If I read the study, or if he read the study, he would know that. So he lied about literally everything in regards to this heme iron thing. He had no clue about heme iron. And the method for this study and the materials are the problem. So they isolated LDL from plasma from four healthy people. And then they took it at 250, I believe this is, what is this, microliters? Yeah, it's a microliter, which is a millionth of a liter. And then I believe this is microgram, which is microgram, yeah, it's one millionth of a gram. So I'm very unfamiliar with these measurements. But FES04, which is the iron that they oxidized this LDL within a centrifuge, is iron sulfate. And that has nothing to do with not heme iron as ferrous sulfate does not interact with heme iron absorption in humans. So these are two very different things. So the iron they used in this study is irrelevant. So because of the iron they used, the studies are relevant. And even if we entertain the idea that it was heme iron, the method they're using of spinning this in a centrifuge in this concentration with this much iron, it's such an unrealistic amount of iron. I think I could be wrong on this, but to my understanding, the dosing on this is like, it's like the equivalent of eating 20 steaks a meal. It's insane, a worth of iron. And that's not even, it doesn't matter because it's not heme iron. And then I just showed one study showing that young women are usually deficient and they need more heme iron. And then another study showing how iron is important for health, all living organisms as it participates in a wide variety of metabolic processes. So as much as I would like to apologize for my performance on it, it could have been a lot worse. And either way, even if I prepared for this, I don't think I would have been prepared. If he would have linked me to the studies ahead of time, this is what would have happened. What did it take me like five minutes to go over all that stuff? So thank you guys for watching. I will link all that stuff in the description.  So you guys are not wearing makeup.  So yeah, just share the video above anything, guys. Hey, follow my Twitter and Instagram. If you follow my Twitter, you'll know someone fairly special is following me for what it's worth. And I'm going to do a live stream next Sunday. And I think I want to do two live streams for both time zones, Europe and the United States. I would like to do like maybe one at noon and one at midnight. Let me know what time zones are good. Maybe I'll just do one super long stream like I did last week because I don't know what would be good for both Europe and American time zone. So thank you guys for watching. And also, yeah, just let me know what other videos you guys would like to see. He almost forgot to give a big shout out to Dr. Darren Schmidt. Thank you so much for that identifying junk science video. Please say hello to him for me guys and just watch his videos, watch that video that I'm going to link in the comments. I watched that last week. It helped me a lot even though I should have just brought it up to explain the relative risk at the time of the live stream. I didn't think of that.


This is the VOA Special English Agriculture Report. Aquaponics is the idea of producing vegetables and fish in the same closed system. It combines aquaculture or fish farming with hydroponics, a way to grow plants without soil. Supporters see aquaponics as a way to increase world food supplies and reduce climate change, groundwater pollution and overfishing. Sylvia Bernstein says the idea is as old as nature. Aquaponics is really a recirculating wetland system, so it's happening right on the banks of our lakes. She grew plants in water with a chemical fertilizer for years. Then she discovered she could use wastewater from fish to grow organic vegetables and fruit. She says she couldn't believe that something as simple as fish waste could become a complete fertilizer. So I had to actually see a system that was in a friend's basement. But when I did, it changed my life. That was three years ago. Ms. Bernstein built her first system with her son outside her home in Boulder, Colorado. Today she raises tilapia and trout. She feeds them once a day. Her plants, including herbs, tomatoes, peppers, grow in containers. There are no weeds in her aquaponics garden and no need to worry about watering. Ms. Bernstein started her own business called the Aquaponics Source. She has a YouTube channel, teaches aquaponics at the Denver Botanic Gardens, and recently published a book. Aquaponics Farmer James Godsil says the internet is helping many aquaponics gardeners connect and learn from one another. Three years ago, Mr. Godsil helped create an aquaponics farm in Milwaukee, Wisconsin called Sweetwater Organics. In 2010, he helped establish the Sweetwater Foundation to teach people around the world about aquaponics. He calls it a very earth-friendly food production system, which, by the way, only uses about 10% of the water normal farming does and uses no pesticides. Subra Mukherjee is with the group in Kolkata, India, that is working with the Foundation to develop aquaponics in a community in West Bengal. The community has poor soil conditions for growing food. Mr. Mukherjee says technologies like aquaponics are ideal for these kinds of situations. We can actually bring it right into the middle of slums in the cities, so it becomes a very good model for urban and village-based communities. For VOA Special English, I'm Carolyn Presuti. Have you ever worked with aquaponics? Tell us about it at voaspecialenglish.com.


Okay folks, Larry Pesavendol for the mid-afternoon update here. By the way, I want to make a comment on the videos that I sent out yesterday. I mentioned that it would probably be the last video. Folks, I meant the last video for the day. The problem was Google was banning me because I sent out three of them and it goes out to quite a few people and they viewed it as spam, but they finally got it corrected. I'm a fully paid member of Google, unfortunately. But anyway, I did get that fixed, so I have no intentions of going anywhere. This show and TFNN and all the stuff that I do keeps me in the game and by golly, that's the way I want to keep it, but if you hear about it, it'll be over at the same time. So what I mean by that is when it's over, it's over, but it isn't near being over. Here's the E-mini S&P over the last eight or nine days. We had the high back here on the 9th of March. Let's try that again, Larry. On the 8th of March, we came down. We made a beautiful ABCD. Today you'll see right up to the 78% level, the number measured to 51.76 and it got as high as 51.7575, so it's held up relatively well here so far today, but it's still in a strong uptrend, of course, and we could easily go up and make another new high without too much trouble. Whether we do that or not remains to be seen. Now hopefully our guest today will be Peter Lides of Stock Market Cycles, whether Peter's going to be able to make it or not because of the volatility in these markets. He's a very active trader and if he's busy, he won't be able to do it, but tomorrow we will have Bob Miner and Bob's got a new book out and he has some pretty good stuff that he's produced over the years. You might want to take a look at that. He does a lot of work on patterns and Fibonacci and some other things also. So that's what we're watching here and we have a fun day today. We've got to look at a lot of things as we're having volatility everywhere so far. So far the strategies that we're looking at are doing pretty good. We had a really nice move in the bonds. If you'll remember, we were talking about this really neat pattern that we were seeing here in the bonds. That was that beautiful 135 pattern.  So that was a perfect symmetrical pattern folks, 13 and 5, 618, right on the money. So let's take a break here and we'll be right back,<PHONE_NUMBER>.