Hello and welcome to the session. In this session we are going to discuss the following question and the question says that Electronic Bicycle Lockers are public storage lockers designed specifically for the storage of bicycles in a transit station. These lockers can be rented on early basis. The graph below shows the cost of renting an electronic bicycle locker in sense and the time taken in hours. Find the rate of renting an electronic bicycle locker and we know that slope is the rate of change between any two points on a line. To find the slope of a line we find the ratio of change in Y that is vertical change to change in X that is the horizontal change. Whenever a line passes through a region that is 00 there is a proportional relationship unit rate or slope is given by change in Y that is Y minus 0 by change in X that is X minus 0 which is equal to Y by X. With this key idea let us proceed to the solution. In this question we are given a graph showing cost of renting an electronic bicycle locker in sense and the time taken in hours. And clearly from the graph we see that time is given on the X axis and the cost is given on the Y axis and we see that when X coordinate is 1, Y coordinate is at 3. It means in 1 hour cost is 3 cents. Similarly at 2 hours cost is 6 cents and at 3 hours cost is 9 cents. So we have the following table which says that in 1 hour cost is 3 cents, in 2 hours cost is 6 cents, in 3 hours cost is 9 cents, in 4 hours cost is 12 cents and in 5 hours cost is 15 cents. And from our key idea we know that whenever a line passes through a region that is 00 there is a proportional relationship and as we have seen the graph of the straight line passes through a region that is 00. So we can say the relationship is proportional. So here we get the relationship is proportional and each ratio that is cost by hour is given by 3 by 1 which is equal to 6 by 2 and is equal to 9 by 3 which is equal to 12 by 4 which is equal to 15 by 5 and we can see that each ratio is equal to 3 upon 1 that is will be equal to 3. So the rate for renting an electronic bicycle worker 3 cents per hour which is a required answer. This completes our session. Hope you enjoyed this session.


Alright, well thank you to Senator Wyden for coming here today and the first day that they're back in session to take time out to talk to us was really fantastic. So we're moving on to our next part of the conversation which involves Jean Cook. And Jean is the co-director of the Artist Revenue Streams project. And she's going to do a presentation about something that we discovered as we did some of our work which was about artist leverage. And more specifically, and she'll get into it, is exactly how much control and how much access to the process artists have in regards to how they're paid when their sound recordings and their performances happen. So with that, I'll turn it over to Jean Cook. Hey everybody, how you doing? How you doing? You're doing alright. So this is the clicker, huh? Okay, great. So as Kristen said, my name is Jean Cook. I'm a musician. I'm the director of programs for Future of Music Coalition. I'm the co-director of the Artist Revenue Streams project. So this is the latest in a series of presentations and data memos and case studies from the Artist Revenue Streams project which is this massive data collection effort to understand the various revenue streams for individual musicians in the United States. So here you can see, I'm just going to jump right into it because we don't have a lot of time. Here you can see the revenue streams we asked artists about. This is what guided the framework of our research. We collected data from thousands of musicians and composers to understand how they put it all together. These revenue streams have been divided up into different buckets for composing, for recording, for background income, that's session musician income for performances, and then also brand related income and patronage. Can you guys see this okay? Is it clear enough? Okay. Great. So this list is published along with a lot of our reports at money.futureofmusic.org. This presentation is going to be in three parts. We decided to do this presentation because, as Kristen mentioned, we wanted to talk about how artists actually get paid. How does that process actually work? A lot of people know that when you buy tickets to see a show or listen to an artist's music online or on the radio, the artist eventually kind of benefits from your support somehow, somewhere. But how exactly is a mystery to many people? The details are pretty vague. As it turns out, it may be mysterious because how the money actually flows in the music industry can be quite complex. So rather than being like something like this, it's more like, I just picked Aaron because she happened to be around, more like this. So the first part of this presentation is going to ask the question, who decides how much the artist gets paid? Then we'll look at some details about how rates for a few of the more popular income streams, some of the income streams that we've been talking about today, are calculated and eventually distributed. And then we'll close with a few takeaways from musicians that offer a little context for the information that we're about to provide. So the first question is, who decides how much the artist gets? So this map, as I mentioned, this is a fake map. This is an actually Aaron's situation. I just used her picture because she happened to be in the house and I'd like to thank her. I'd like to thank her for letting me use it. But it gives you a sense of how the money generated from music trickles back to the artist. So of the 42 streams we've identified, some of them are negotiated by the artist directly, one way or another. Like a music teacher can usually set their own rates for lessons. Sometimes the rate's negotiated by somebody on behalf of the artist, like a booking agent who negotiates a guarantee or a percentage deal with a concert promoter. So sometimes the rate's set through collective agreements representing a group of creators, like a union or ASCAP, BMI or CSAC. We talked a lot about that today. Sometimes the rate is set by a process outlined by law. Sometimes it's set through private negotiation. So there are three basic categories of stakeholders who negotiate how much artists take home at the end of the day for each income stream. These are the middlemen who negotiate the rates that artists end up getting paid. So the first group, we would call them, I guess, direct agents. These are the artist managers, booking agents, attorneys, people who work directly on behalf of an individual artist. They represent the individual artists in negotiations and are usually paid through a percentage of the artist's overall income or a percentage of a deal that they may source. The second group is record labels and publishers. These are the copyright aggregators. These are folks who are investors that provide upfront capital to the artist in exchange for control over the artist's copyrights a lot of the time. They distribute and promote the catalog and pursue licensing opportunities. The third group is the collective management group. These are the ones that are formed to collectively manage artists' rights. So they're the PROs, the unions, entities like ASCAP, BMI, and CSEC exist to negotiate performance rates for compositions and collect and distribute the income to their composer and publisher members. Sound Exchange does the same thing for recording artists and sound recording copyright owners. The American Federation of Musicians does the same thing for performers and recording musicians, SAG-AFTRA, represents recording vocalists. So for most, if not all of the copyright related income streams, these rates artists get paid or negotiated by and with record labels and publishers or by collective management groups. So how are the rates determined with these middlemen and what is their ultimate responsibility to the artists? Because that's the thing that we're really concerned about. So as I mentioned before, it's impossible to generalize the answer that question because it's quite complicated and we are limited in time. So I'm gonna take a look at how details work for three specific examples. We're gonna look at Spotify, iTunes, and Pandora. So here you can see the flowchart of the money that goes from the fan to the music service, then to the middlemen and then back to the artist. And the name of the second part of this presentation is the devil lives in the details and we're gonna be focusing on this particular area between the services and the middlemen. So there are two caveats before I show you the slides that break down the rates and how they get put together. So for the purposes of this presentation, we tried to focus on specific and essential aspects of the right setting. Who's at the table, the basic nature of the deal structure and for the three different types of uses. Now it might get a little bit confusing if you don't know, for example, that copyright law treats compositions and sound recordings differently. So because copyright law treats them differently and they also treat things like interactive versus non-interactive streaming differently. Just who's sitting around the table for these negotiations is gonna vary from service to service. When digital music services, for example, want to use an artist copyrighted works, they have to deal with labels and PROs or aggregators or unions to negotiate what the rate is to be paid. So is everything kind of tracking so far? Is everybody cool? Okay, so we'll start with Spotify. So you see on the left, one side of the negotiating table, we have Spotify, which is an interactive streaming service. That means that as a user, you can choose what songs you wanna listen to. You can listen to them as many times and whenever you like. So on the right side, we have the sound recording copyright owner on the top. That's the record labels and aggregators. And below we have the composition rights. So if I'm Spotify, I'm gonna go through theoretically. And there are many people in this room who have much more intimate knowledge of these details than I do. And they should feel free to correct me in the places where I am wrong. But this is what I think happens, which is that if I'm Spotify, I'm gonna go through a private negotiating process with every single record label and aggregator that controls the sound recordings that I wanna use. The deals with each label or aggregator may be different from each other. I'm pretty sure that they are different from each other. And by the way, none of these rights that have been set have been published that I'm aware of. Then we're gonna go to the PROs. That's ASCAP, BMI, and CSAC. We're gonna get a blanket license for the compositions that are streamed on Spotify. And because it's an interactive service, I'm also gonna negotiate with each publisher for mechanical license. The NMPA, which is the National Music Publishers Association, can sometimes be helpful and negotiate on behalf of its members in times like these. But any publisher that isn't a member of the NMPA, I'm going to have to find them. So did that kind of make sense? Did you guys already know all of this stuff? Okay, so we're gonna move on then to iTunes. Here we have iTunes on one side of the table and labels and aggregators are on the other side. Again, these deals are private, though I've heard that iTunes deals don't tend to vary terribly from deal to deal, unlike Spotify. The Composer Money is much simpler for this kind of use. It's a simple download, so it's a statutory mechanical rate. That's the same for everybody. And instead of dealing with the publishers like Spotify has to, iTunes can just give the money to the labels to pass on because it's just a set rate. So that's iTunes. Did you have a question? Thank you. That's actually a really good clarification. Thank you. Yeah, cool. I'd like to talk to you about that later, actually. Thanks, Gerald. Next, we've got Pandora. So I believe we've covered a lot of this today. So this will probably just be a recap. I don't know if we have any folks from Pandora in the room. I know their lobbyist was here earlier. OK. So rather than doing private deals with all the labels, Pandora participates in a public rate setting process at the Copyright Royalty Board. And they do this every four or five years to determine the rate. Pandora submits evidence and testimony about why their business is expensive and difficult. And then rates should be lower as a result. And Sound Exchange then submits evidence and testimony about why artists have it so difficult. And that Pandora should maybe pay higher rates. So then the judges review the evidence and then make a ruling on the rate that Pandora will pay. So while this is happening, Pandora and Sound Exchange have the option to reach their own settlement agreement about what the rate should be, which then will be reviewed and approved by the CRB, which is the Copyright Royalty Board, which is the three judges that the senator was talking about earlier. And then the rates will apply to everyone once it's approved by the CRB. The rate is then published on the Sound Exchange website. So on the composer side, Pandora gets a blanket license for a non-interactive stream from ASCAP, BMI and CSAC. It's a standard formula based on ad revenue, user revenue, number of uses, and the rates are published. So those are the three that we're going to take a look at, interactive, non-interactive, and downloads. So the beginning of this section, I asked the question, how are the rates determined with these middlemen? And what is the responsibility to the artists with respect to the artist's bottom line? So now it's to the second part of the question. As it turns out, not all middlemen are the same. While they play similar roles in the negotiation of the rates that the artists are paid, there's some important differences that are worth noting between labels and publishers and collective management agents and unions. So let's start with what they have in common. Both simplify the licensing process by negotiating on behalf of groups of artists, a bunch of labels, or an entire catalog of work, that that's been talked about earlier today. I think it's absolutely true. It's obvious. So music services don't have to try and negotiate directly with millions of artists. And artists don't have to chase down every single service when they use their music. That's a good thing. They also take responsibility for finding and paying the artists once they receive the money from digital services. So that's another burden that's relieved. So here's where they differ. So the PROs and the unions, they ultimately answer to their artist and songwriter members, arguably. Most have mechanisms in place that allow the artists to have input on how these organizations are running how they do business. Protecting the artist's share of the income streams they negotiate and collect is dictated by law in the case of sound exchange. And with ASCAP BMI and CSAC, it's written into their charters. Half of the sound exchange board is artists, representatives. So this is in contrast to labels and publishers. Artists rarely have substantive oversight over how the label publisher will negotiate on their behalf. And on the back end, labels can often be unreliable payment agents, as many of them will cross-collateralize the income they negotiate and collect on behalf of artists against the debt the artist usually owes them. And in other cases, major labels have used their ability to control massive catalogs to extract additional income in the form of equity stakes. In the case of Spotify, as it's been reported, or something like an access to the catalog fee, as they did with Rhapsody. And then in other cases, I think there's even been reported. We will show up at the negotiating table fee. So time will tell whether these additional income streams that the labels extract from services will ever be seen by artists or if it will make its home in the major labels general coffers. So where does it leave us? We started by wanting to talk about how artists get paid. We dive deep into the mechanics about how some of the royalty rates are determined for three popular services. And now as we head into the home stretch of this presentation, I'm just going to roll back to 150,000 feet and focus back on the artist and give some context for how musicians and composers fit into this picture. So not all income is created equal. So this is kind of the first takeaway for artists. Like, how do you think about these income streams? Where do these particular income streams, iTunes, Spotify, and Pandora, fit into the artist's big picture anyway? While it may be a relatively small portion of an artist's income, our research has told us pretty compellingly that every little bit counts. So if you were to make a pie chart that included all of the revenue that a real musician earns. So this is actually a real musician. This is all the revenue that they earn. It's probably the pie chart that aggregates their income is not really going to look like this. It's going to look like this. So for that particular musician, certain income streams are more significant in some ways than others. Live performance salary and CD sales on the road are more significant to them than, say, acting or TV royalties or being a producer or a session musician. And as a result, it's perfectly natural that the artist would then spend more time on the larger income streams. But not all income is created equal. While this artist made 30% of their income from live performance, you might say that their income from live performance is, say, five times the amount of income that they get from their PRO, if you were just to look at this chart, except for the part where this chart is actually just gross numbers. And anybody who tours will tell you that there are expenses associated with touring. So when you take those expenses into account, you may find that the net income from live performances is much closer to the ASCAP money. So the smaller income streams have more value when they have no expenses attached to them. So most of the income streams of musicians are somewhat interdependent. That's another important concept. It's because they're touring that people are going to promote their music and encourage things like licensing and radio airplay. That results in more PRO money. Touring can also help merchandise sales. Radio airplay helps touring and record sales. Making more records can sometimes give you a reason to tour. The revenue streams all rely on each other. And successful artists are able to leverage them all against each other. So that brings us to the concept of leverage and its role in artist income. But what does that term really mean? Leverage is a pretty broad concept and it can apply in many different situations. So for example, an artist who owns their own masters in publishing, they have more leverage than the artist who's beholden to a label and or a publisher. Labels can be like banks. They're like banks. They have leverage with some artists simply because they can advance cash. Music services can gain leverage with artists and labels when they start to get traction in the marketplace and have a critical mass of users. Artists gain leverage when they collectively manage their rights. In other cases, artists with valuable catalogs may gain leverage when they choose not to give up control to collective agencies and negotiate their own deals. But if we really want to talk about leverage, we need to acknowledge that the major labels and the major publishers have a lot of it. I think that we heard a lot about that in the last presentation. Through the legacy catalog and their existing roster, they control access to vast amounts of valuable recorded work and compositions. And even in this age of ubiquity and talk about the death of the major labels, their power has not really diminished in this area. So this is a fundamental dynamic that has and will continue to shape all negotiations about music rights for the foreseeable future. It's an important point to acknowledge. While new digital music services will want to continue to pay the absolute minimum they can get away with and want the licensing process to be as easy as possible, and artists and copyright aggregators and collective management bodies will want the rates to be as high as possible. And in the case of the majors, they actually do have the leverage to force a conversation in these negotiations about things like, well, what is the material difference between a stream and a download, a tethered stream, a ringtone, an audiovisual use, an interactive use, a non-interactive use, and the list goes on and on and on. These conversations, I mean, I think you could argue that it's possible these conversations may not have happened. They wouldn't have been forced in the same way without the leverage that the major labels were exerting. So the road to the frictionless licensing process of the future that we often talk about at this conference, we dream about it, we talk about it, we hope for it. This is a rocky road. It's a difficult road. It's expensive and it's long. It's also an excruciatingly incremental process. So, oh, yeah, that's a good chart. So the last takeaway is about how leverage has an impact on the landscape for negotiation. So if that last takeaway was about that, the third takeaway, which we're about to look at, is taking the artists and looking at where they fit into all of this. So in the examples earlier in the presentation, we describe the rate-setting process for a few different digital music services. Artists have different levels of oversight, depending on the types of rate-setting process. And there are opportunities to be involved that maybe some of the artists here don't know about. For example, when the rate-setting process by Pandora for how much performers get paid as a mini-statutory rate-setting process, there's actually a public aspect of the process through the proceeding at the copyright royalty board. Many people may not know about this. Most people probably don't have the time to participate, but it does exist. Any stakeholder can participate in the proceeding. Any participant can file testimony about how the rates should be structured and submit evidence to support their position. If artists disagree for whatever reason with how sound exchange is representing them, they have the technical ability to file their own testimony, which would be considered by the CRP judges through that proceeding. In the case of blanket licenses offered by ASCAP, BMI and CSAC described above, oh wait, hold on, artist involvement, and then there's also detailed reporting on the other end with sound exchange. In the case of blanket licenses offered by ASCAP, BMI and CSAC described before, as members of the PRO, artists can theoretically have the ability to give feedback directly to the PRO on the rate-set. And in the cases where the artists were unhappy with the PRO rates, they have the option to remove their catalog and pursue direct licensing with the music services for their catalogs. In the case of private deals, though, artists have limited recourse if they're unhappy with the rate that's agreed upon by music services in the middlemen who control the artist's copyrights. This is really the crux of the problem, and I think that it's been discussed at length today in many different contexts. There's very little transparency about the process and the rates that are rarely even published, in contrast with the CRB process or the blanket licenses that are offered by the PROs. Because these deals are private, there's no way to know for sure how much artists are supposed to be paid. There's often also very little accountability in the reporting when the labels distribute the royalties paid to them. I love Trish Pollock, I think she was very eloquent on that point. Now this is not to say that private deals are always bad, there are times when private negotiations are the best way for artists to get the most value out of their work, but you have to be at the negotiating table to benefit from the process. So this is my last two slides. I know I'm running out of time. Despite their differences, there are a few things that music services and rights holders can probably agree on. As this industry moves forward, I think there is broad consensus that more efficient ways of licensing is probably a good thing. No one thinks that it's a good idea for music services to have to chase down all of the individual publishers for every song they wanna use that isn't in the NMPA catalog. And I doubt anybody ever thought to themselves, gee, I think there should be 10 different mechanical rates. We've heard every stakeholder at one time or another say they want individual artists to get paid. That's true by the way about the 10 mechanical rates. Ann was just telling me about that. There's probably also consensus that accurate payments and accountability on all sides isn't the worst thing in the world.  So these are principles that can perhaps help to guide us. Those of us who are trying to figure out the next step for more efficient licensing processes of the future, as well as some suggestions. Here we've got some suggestions for middlemen who are interested in improving, improving how they serve the artists that they represent. I'm gonna stop here. I know that we don't have time for questions, but I appreciate you listening. This is the first time we're doing this presentation. I'm interested in your feedback. Please pull me or Kristen aside if you'd like to chat. Thank you.


Hello everybody. It's a great pleasure to be able to talk to you here today And you may wonder what a British guy is doing here in India at a women in design track Urging you to focus your UX work on village women in India So hopefully this short talk is going to make it clear But personally I always feel that life has got a strong sense of irony and so that I find myself here It just is another another moment of humor of life But mainly I want to talk about this amazing world of UX which is right on your doorsteps And what I'm proposing to you is that if you engage with it fully you will become a UX genius. I Used to be a senior design researcher at Microsoft where I got to work on some large fun projects I was the design research lead for the connected car project. I worked on MSN a bit of Microsoft comm homepage The massive B2B websites for the Microsoft partner ecosystem and even a little bit on HoloLens But then I took a sabbatical. I'm more or less retired. I was kind of done in somewhat the rat race of UX I've really enjoyed my time at Microsoft and my time in the field But there's a certain point at which you're pushing further and further and you have to stop and step back and goes What are the products? What are the projects that mean the most to me?  It may well be Comfort tech technology to make comfortable people even more comfortable It may be technology to help businesses be more efficient, you know, even a 1% increase in the efficiency of Bug prediction in software can save millions of gallons of fuel a year. There's real value there There's a lot of different projects you could be working on and you're at a critical moment I say here UX in India where's when you set the vision for what UX is about Are you going to be following Hollywood and Silicon Valley? Always that kind of maybe one or two steps behind playing catch up. That's definitely one option But you have another option right on your door and this is something which lured me To India because now I work and teach here at Dumbarton University in Kerala as part of Amici Labs Amici Labs is a multidisciplinary research and development group that focuses mostly on technology for women's empowerment projects We have designed technology to help skills training But more than that the team is part of an organization would actually takes it to the villages in this picture We see our van one of our vans which goes where other teams can't go to make technology work for sustainability You really have to have boots on the ground You can't throw technology at difficult social situations and expect it to get better You have to take it there. You have to work very Sensitively to see how it's going to fit into people's lives The ecosystem of Indian villages as I'm sure many of you know is extremely fragile and yet I'm told it's the foundation of India. It needs people in the field making the technology work for it to be successful so when the team goes there they like to roll their sleeves up and do some hands-on work and Here's an example of the sorts of things that we work on in terms of cutting-edge tech Many women already work as day laborers getting day laborer rates with a bit of training They can get a certificate from the government that they are Formally plumbers or masons. They make twice as much money and have a lot more status than in the family and in the community and it's been quite well proven that increasing the availability the Resources of women in the family has a net positive effect on the village and the community as a whole What you're looking at here is a force feedback haptic device which helps skills training for soaring pipes If you want to be a plumber or a mason you've got to sort PVC pipes metal pipes different kinds of pipes now You can do this well if you get the hang of how you put your body on your shoulder behind it How you align your eye along the blade? We found that women felt much more comfortable with this intermediary step of training rather than picking up the heavy Tools to begin with so this is an example of the type of innovation that came out of Amici labs By focusing on the needs of village women No where else in the world uses haptic training for this most other applications of haptic training of a very Affluent first world issues like complicated surgeries or NASA training This technology though was used in the opposite end of the spectrum in rural villages out in the back of beyond in India For me, I find this incredibly beautiful and that's why I'm here So in these villages there may be TV But there's often no toilets and a lack of toilets Open defecation Has problems it has problems for health when it leeches into water sources It has problems for women's sexual safety many assaults can happen at the times of day where women go Are able to use a toilet which is often before dawn So toilet building and training women to build toilets is part of the skills training We've been using technology for there's a lot of aspects to this It's very hands-on and there's also some theoretical components and Amici labs has been working on how do you help women learn to build toilets But beyond that, how do you train women to become plumbers? This was a really fun project that it happened before I joined. I'm just a new boy here in the team But we were able to graduate India's first women plumbers Now I find it hard to imagine that you really could have India's first women plumbers, but I'm told yes They really were India's first women plumbers Yeah, it's for the women right We also tried tablet-based learning in various forms. We teach soft skills. We teach Vocational skills and skills for living now in terms of some of the life skills There's a lot of abuse of women that happens because women are not told their government entitlements They are not told what their various property rights are With access to that information, they're able to make more informed decisions Which again makes an enormous difference not just for the women's life, but for the family in the community's life Vocational skills include sewing Artificial jewelry making soap making and one of the from projects We did with our collaborators resulted in a Kickstarter campaign where the women were able to raise a lot of money by selling their Really rather cute crafts But it's not easy to do educational technology in a village I started my career as a research fellow in educational technology at the uk open university back in the day Mentioning under a wonderful woman josey taylor and agnes kakalska home If you're trying to teach people something, it's one thing if we have this nice room, which is more or less free of distractions Imagine if you had a bunch of your kids were running around this room right now as well And a bunch of old men were kind of coming over and looking over your shoulders and peering into your face and seeing what you're up to And maybe some of your husbands Were floating by maybe half of them drunk too There's a lot of distraction in that type of environment It is hard to make educational technology work in a village where the family is a constant presence Also, you don't have a regular classroom hours. You can come and get into a rhythm of learning your life is Based on an agricultural timetable and at certain parts of the year you're all day long is spent in the fields Amazing challenge Is that how do you design a ui for people who can't read or have very low literacy? Yeah, this is the case with a lot of A lot of our users it creates the need to be very inventive in how you work that Additionally, the low digital literacy is the problem because For us we can find facts as soon as we like with our cell phones with our smartphones But again when you're talking about government entitlements Prices fair prices for your products the ability to pick up a smartphone and use it effectively makes a massive difference in these women's lives We're also talking about a very intense cultural and religious Settings now of cross India the village is very enormously in the culture and religion as you know better than I But in almost all places it is something held It's a value system and a reality tunnel which is held very intensively and is probably intensely different to a Highly educated urbanites probably like most of us have in our lives This again makes for a unique challenge for doing ux in this context So it's against that background that I'm going to propose six reasons how you will become a genius If you focus your ux on this secret cutting edge that you have on your back door doing ux for rural village women here in India Firstly there is a real need This is not comfort tech to make the comfortable more comfortable. There's 500 million Indians lacking basic education The 21st century requires different survival skills, which these people need Women and children continue to be a highly vulnerable and highly underserved Now going back to dan's talk his opening keynote yesterday He pointed out go find big ux challenges and you've heard other people saying you know go out find big ux challenges Please if somebody could find a larger ux challenge than this come tell me I had a chance to mentor under irony lund when I was at microsoft He's a wonderful ux leader as the field overall He's now one of the ux heads at ge And his advice to me was always alexander if you want to get promoted you have to go find and solve the big problems And that's what i'm putting to you if you want to get promoted If you want your career to really go somewhere not because necessarily somebody's going to overtly reward you But because life itself is going to lift you up find the big challenges, please You don't have to play catch up with silicon valley or this kind of goofy technology which emerges out of The consumer electronics show there's a lot more interesting challenges to work on And so the first aspect of genius i'm proposing to you is that you identify where the cutting edge really is Identify where the large problems really are There is intense constraints low literacy high distraction environments a fragile social situation Create constraints breed creativity and you have this wonderful concept of jugaad in india of being able to do more with less So this is already a strength of the community here But I put it to you if you want navy seals level skills or magaiva level skills Or just to hone your ability to find ingenious solutions Then again the intense multifaceted constraints of doing ux work for rural india Offers you that opportunity to develop that kind of genius to find innovative solutions to hard problems But more importantly than that It's not that you would just get good at doing ux for village works The types of innovations that you would find by doing ux work for villages are going to be applicable more broadly Right the types of solutions you can find there are the sorts of things which can go global This may be a subtle point, but i'm sure at least half of you have got it There are major cultural differences a complex social structure very different value system And frankly a frequent exposure to intense human suffering Empathy as in chloe's wonderful workshop earlier today Empathy is something you get to develop compassion Insight now we all know what it is when work drives us to be hard hearted We all have colleagues who seem to have turned a corner and rather given up on growing as humans with a soft warm juicy heart Somehow they may be very successful, but they become hard too hard around the edges Whereas life somehow invites us to become beautiful by being very beautifully hearted in what we do And this relationship with people from such a different culture With such a different life experience is an opportunity to develop that genius And so you see i'm not talking about genius in the sense of being able to solve a rubik's cube in one second Or do maths problems in your head For me a genius is much about intellect intelligence, but also emotional intelligence Tell me if you can find a problem, which will help you develop more emotional intelligence in this Let me know And of course they will teach you People have been reminding me that steve jobs said you learn intuition by going to india Certainly as i've come in now a salio member of an indian university i've discovered there's a different way of planning things Which happens in india, which i'm told is called intuitive i'm just flowing with allen But you will learn different life skills different perspectives practical knowledge Ancient knowledge and a sense of resilience from your relationship with these women It will change you you will grow And even more than that you have to put it all together This isn't just one type of project where it's there's some very hard little bit of the user base to figure out or some technology project Or some bit of the business, which is really stuck. This is a difficult problem.  Who are you going to serve with your ux? What's the most beautiful service you could put yourself into through your own beautiful ux work Stepping beyond ourselves this way touches into something which is Precious precious precious in Indian cultural heritage this sense of transcendence The sense of being greater than one's culture one's ethnicity one's gender and so forth Touching into what it really means to be a one-world family touching into something Authentically transcendent about yourself Now I proposed you if you could do that and all of the other both the points I would certainly call you a genius so If you're interested in this come find me There's opportunities to get involved through amici labs just visiting field visits volunteering internships m-tech programs phd programs And if you have what it takes research and teaching If you just want to say hi, please come find me afterwards. It'll be a real pleasure talking to you Thank you very much


hello hi welcome back to my channel welcome to another video ladies today we have another haul it's another massive haul and again princess polly have fully outdone themselves they never miss ever i'm obsessed yeah today we're gonna be doing a massive princess polly try on haul i want to say a massive shout out to princess polly for sponsoring this for sponsoring this video but obviously i'm gonna be trying all the clothes on and like actually telling you how they are it's all honesty hour on this channel also this dress is really making my eyes look blue and i'm really enjoying it also i this is a bit scatty of me i'm not gonna lie but one of my mates decided to apparently throw me around i'm hurrying to remember it on my out and he broke my nail off so thank you sid okay anyways moving on i want to give a massive shout out to princess polly for sponsoring this video i love you guys so much i do actually have a discount code for you it's on screen now it's just jemma 20 gives you 20 off the entire website obviously i will leave the link to their website in the top description so if you like any of this stuff you can go copy it in case you're wondering because it doesn't actually ship from the uk and so i always get a bit nervous about shopping like from abroad because of like tax and stuff princess polly actually do free express delivery over orders of 40 pounds to the uk and trust me you'll want to spend more than 40 pounds on their website and all of their taxes are at the checkout so you're not going to be getting a letter in the post telling you that you owe some company some government who gets that tax the government the bleachers going to my brain but yeah it's all at checkouts you're not going to get any surprises and of course they have 30 day returns so if you don't like any of it wrong size whatever you need you can always send them back and they do afterpay i've never used afterpay or like clana or like any of those things but they have it for uk customers now anyway let's get into this hall because i've been yapping yapping yapping but start with this dress i can't explain how much i'm obsessed with this dress firstly it's really thick so like winter because it's freezing and it's only just turn november point was this dress is made of wool um so it's really warm and it's really thick not see through at all i am gonna insert like try in clips try try on clips of me wearing all the stuff but for this one i might as well just stand up now okay well without changing the camera angle i can't actually show you this dress that well there you go look how little my waist looks hello it's literally like very figure hugging perfect size i got all of these in a size four uk four i got this wrong in the last video but all of these are in a size uk four which is a us zero you'll see how all this stuff fits on me my waist is i think 25 inches per reference and i'm five foot three this is called the felicity mini dress in blue they do it in other colors no moving on we're gonna do a little co-ord set what are you called arian set i think that's how you pronounce it i might have completely butchered that but yeah i thought this would be really cute for clubbing the top is just a little one shoulder crop top and then the bottoms you can't really see them just wait till they're on me i feel like these might be a bit long for me i might need to get my mom to take them up because i am very short but yeah look how sick the top is and then they're really flared at the ends this is the best angle in my room that i can find to film this but this is the code i'm actually obsessed with it see i'll just do a little close-up how sick are these trousers i actually love them this is the work okay so to be fair i did actually buy quite a lot of black i just got this little black basic skirt i know a bit boring this is called the selby mini skirt and when i say mini she is mini so i haven't actually tried her on yet and she definitely needs an iron but yeah i just really needed a little black mini skirt that wasn't like really tight do you know what i mean okay this is very short which is ideal for me but you know if you're a little bit taller than five three but it's so cute this is exactly what i wanted it's like tight but like not body con and again not see-through feels really thick actually okay and then i've got another little black skirt but this one is leather i actually really wore this on halloween for raduna charge it's got a little slit in it again fits me perfectly around the waist they always do they're very consistent with their sizing which is very nice because again not a lot of brands ever do that and it's really annoying but yeah they always they always fit perfectly and yeah that is called the rizzo i think yeah the rizzo mini skirt but yeah this is the little leather one very cute as you can see fits very nicely around my waist that's how long it is in case you're interested i like the slit it's very cute okay one more pair of black bottoms i promise i got some oh my god look how shiny they look right i've never had any like leather trousers and these looked so good on the model let me just check what they're called lyra pants i don't know why they look so shiny i think it's because of the ring like they really don't look like that in real life the material actually feels quite nice but yeah i've never owned leather pants and loads of my friends have them and they look so good in them and sometimes like jeans just are too casual and i have no idea what else to wear so i thought i'd try them not really my usual go-to and i'm a bit worried about how they're gonna fit but um you're about to find out i don't know how i feel about me in them i feel like maybe they're too big i don't know i really like this top section i think it's pretty like it literally fits me perfectly around the waist i don't know about here i mean they are really nice i feel like sandy from rizzo and then we're gonna make them work i will make them work okay let's do some tops because i've done a lot of buttons in one go oh my goodness okay this one right okay this is called the old school love crop top firstly the color of this baby blue is so beautiful and the way it fits like it's just delightful i'm obsessed with it it looks so cute and again you can wear this with like anything your raps here on she looks really cute i want her in every color please i'm obsessed with this top i'll do a close-up she's so beautiful but yeah look how cute this looks for the skirt it's giving me like a school girl vibes but like i would definitely not be allowed into school looking like this oh look it matches my eyes okay and then this oh i got another corset you've already seen this corset in two different colors i got the black one in my last video and then i bought a different white one with a different flower pattern on it i haven't shown it in a haul because i just bought it like randomly in this style like if it's like a boned kind of corset i always get it in the size up it's called the juliette bustier bustier something like that but yeah she's beautiful i love the cut of these corsets if you wear them with like a pair of jeans that go like a bit lower than it just really gives you a waist okay for this one i am not gonna put it on completely because the buttons take quite a while they look gorgeous but i won't like they do take quite a while to do up but i just wanted to show you how beautiful the shape of this top is like i'm literally obsessed for that okay should we do another dress let's do this little black dress this is called the hazel cut out mini dress look how gorgeous she is on top i love it and then she's got these little cutouts in the side you just need a good oof a good little black what are they called lbd little black dress and i didn't actually own one so now i do i haven't tried it on yet but i'm about to so roll the clips so i do really like this dress it goes like longer at the back i really know how i feel about that so i might get that taken up i'll just make sure to in general because i like my my skirts really short as i've said about 16 times in this video i think but it's literally gorgeous like i love the shape of it okay and then this top is gonna be really hard to show you without it being tried on this is called the evoker top in white and you've probably seen this on instagram models so many times what way around does it go you'll understand it a lot better when it's on me but yeah i've seen this on instagram everywhere so i really wanted to try it probably won't be wearing in the winter so she might have to wait until next summer before she gets used because the back is completely open which is gorgeous but a bit cold i don't think you understand i'm obsessed i spend far too much time on tiktok but this is absolutely beautiful this is what the back looks like oh my god it's gorgeous i love it please someone tell me where i can wear this because i want to wear it right now look how pretty it is okay and then we have another little woolen dress and a colorful one too wow this is giving me like i'm gonna give the wrong decade i want to say 70s or what was no 60s i have no idea i wasn't alive this is called the sienna mini dress in pink again i'm not sure where i'm gonna wear this but i just really liked it and i'm trying to wear more interesting clothing oh my god i love this dress as well this is what it looks like the back oh my god i love it what on earth i never thought i mean i really don't wear dresses at all so like i really need to find somewhere to like wear all this stuff i love it well done princess poly this is the last item and i have also already worn her i wore her for halloween as well for my police woman outfit i know i'm very original please don't remind me but it's another little lace crop top corset kind of vibe let me check what she's called because i've taken the label of her already leonara leonara i think the one thing i will say about this top though is i don't know if it's my body that's wrong or i don't know but the straps are really wide like set out so when i wear it i either just tuck the straps in have it as a little strapless corset like this is why i didn't have a ween like this which is obviously very nice or i wear it and then have the straps i mean i'll show you in the next clip i have the mic hanging down this is what i mean about it being like off the shoulders i think it looks really cute there obviously tuck it in and make it strapless like i'd obviously tuck it in not just leave it hanging there okay and that is the end of the video i really hope you guys enjoyed i hope you like some of the bit as much as i do don't forget this is my discount code and i will leave all the links and information that i just shared with you in the description i hope you guys enjoyed the video give it a thumbs up if you did subscribe if you aren't already and i'll see you guys next week with another video okay bye


Hi and welcome to this next lecture on data structures and algorithms. We discussed a naive algorithm for string matching which requires one to iterate over all the characters in the input pattern to be matched as well as over all the characters on the text to be matched and in fact, we had to redo or repeat a lot of computation starting today our approaches that leverage computations that were already performed to avoid repeated computations and bootstrap around them. So, the first algorithm we will discuss is the Rabin-Karp algorithm. The Rabin-Karp algorithm basically is hinged upon identifying the vocabulary and the size of the vocabulary around which strings in the input text and the pattern will be constructed. So, suppose the vocabulary was restricted to 10 values. So, alphabet was 0 to 9, in general you could have d values. So, the idea of Rabin-Karp algorithm is to represent the input sequence or any substring of the input sequence as a digit in the radix d notation. So, basically a string of k consecutive characters represents a length k decimal number or as I pointed out more generally it represents number in the radix or base d form here d was taken to be 10. So, to find all occurrences of the pattern p in the text t will compute the hash which is basically number mod q and q is chosen to be a prime of the number p of size m and compare it with m consecutive digits of t. Now, why hash? Well one could do the following one could actually look at the decimal or the radix d representation for the text say starting at position s and ending at position s plus m minus 1. Compare that with the pattern starting at position 1 and ending at position m and one could actually check if that the radix d representation for d for t and p are exactly the same. However, this can be expensive. So, the general formula for representing a number in the radix d notation is as follows So, let us say t s is computed or defined to be t starting at position s plus 1 and ending at position s plus m.  One can do likewise for p.  So, computing the t and the p t s and p can be expensive. In fact, it might not be even possible to fit t s or p into one computer word. So, hash comes to our rescue here. The hash which is the number that is t s modulo sum prime q would be such that it fits as one word in the computer and likewise for p. So, p is chosen in order to make this number mod q small enough. However, this comes at a price even if two hash numbers match which means even if p mod q equals t s mod q it is not necessary that p and t s are same. So, even if the two hash numbers match you will still need to go back and check for the digits of t and p being the same. So, there is an additional overhead that one incurs for having used this hash function. Now, one can provide a counter example such as a raise to n and suppose your pattern was just a raise to m. One can easily see that there will be a match potential match of the hash functions at every position of t and this will lead to the checking for the equivalence of digits of t and p at every position. So, one could compute the worst case running time to be theta of n minus m plus 1. This is the time required to scan t times m. So, the worst case it could be order of n m and therefore, expensive. However, in most practical cases when the number of hash matches are constant one will find that the average case complexity is very reasonable. So, we will look at the average case complexity once we discuss the algorithm itself. So, once you have doubly check for the match of t a segment of t with p you report the occurrence of this pattern p in the text t. So, here is an illustration here we are looking at an alphabet set sigma which is ranging from 0 to 9. So, we are basically looking at decimal representations. So, the choice of q in this case is a prime number 17. So, we look at the pattern p the decimal representation mod 17 is 15. Now, suppose we had to match this against this long text you would start from the left most end look at the first 5 digits compute mod 17 well it turns out to be 1. So, if p mod q was not equal to T s mod q one can be very confident that p is certainly not equal to T s. So, we can proceed we look at the next 5 digits mod 17 is 15. Now, this is a valid match. So, what we find here is the p mod q equals the T s plus 1 mod q now does that mean p equals T s plus 1 no. So, now you need to verify that p indeed equals T s plus 1 and it was is correct 847 to 6. So, that was indeed a valid match. So, we flag a valid match next 72639 well you get the same mod 17 value here. So, we find that p mod q indeed equals T s plus 2 well T s plus 3 mod q p is not equal to T s plus 3. So, there was a false alarm that the hash value collision alerted us to. So, this is the price we need to pay for computing the hash function. Now, how many mistakes do we expect to see? So, we can expect the number of such spurious hits to be basically the order of the number of digits the length of the input text divided by the prime q. So, this number of false alarms or spurious hits they can be expected to be order of n divided by q continuing we find invalid match. So, is there a way that we could compute the hash value leveraging computations from the past. So, 38472 mod 17 is 1 can that be used to discover that 84726 with the additional digit 6 mod 17 is actually 15. So, we have an old higher order digit 3 that disappears and a new lower order digit 6 that appears. So, one can update the mod value using the honours rule as follows. So, the decimal value T s plus 1 can be obtained by first of all subtracting from T s 3 just the largest digit multiplied by the number of the base exponentiated by the number of remaining digits. So, what does that mean T s minus 10 raise to m minus 1 times the value at position s plus 1. However, after the subtraction I need to do a left shift in order to insert 6. So, this left shift can be achieved by multiplying by the same base 10 and to this we can add the new digit T of s plus m plus 1. So, this operation corresponds to removal of 3 or digit corresponding to the largest value and pre multiplication with 10 corresponds to left shifting what remains. Finally, addition of T at s plus m plus 1 corresponds to adding a digit at the least significant value. Now, all this does it carry forward to mod operations. So, recall from modular arithmetic we have some properties from modular arithmetic for addition and multiplication. So, in multiplication a mod q times b mod q is equivalent to a b mod q. One can write this in terms of the normal equality as follows. So, this just means that this multiplication mod q itself is the same as a b mod q. So, making use of modular arithmetic properties one could update the mod for the new number 84726 as follows. One can actually take mod of the terms on the right hand side. And what we note here is we have 10 raise to m minus 1 or in general this could be d raise to m minus 1. This might be expensive to compute at every step. However, by virtue of modular arithmetic one could actually compute h as 10 raise to m minus 1 mod q. This can be substituted the h can be pre-computed and the smaller value can be substituted to be able to do this computation in more reasonable time. So, this pre-computation involves computing p mod q and t 0 mod q and t 0 you might recall corresponds to the string starting at position 0 and ending at position m minus 1 in t. To begin with we compute t 0 and p and as already motivated we compute rather pre-compute d raise to m minus 1 mod q. We have made an assumption here that the text t consists of a vocabulary sigma which is of size d. So, we are able to create a one to one mapping from every character in sigma to one of the digits 0 to d or rather 0 to d minus 1. So, once we have done this pre-computation we only need to make use of the modified Honours rule with the modulo and compute the mod for subsequent sequences. So, this is what we do. We look for a match of p to t s and we do this for every position s if indeed there is a match then we basically ensure that the two strings are the same. So, we ensure that p position 0 to m minus 1 indeed is equal to t starting at position s and going until position s plus m minus 1. So, if j equals m if the index j finds a match for all the m minus 1 positions in both t and p then we know that the shift at s is valid rather there was a match at position starting at s in t. You keep doing this and for s less than n minus m that is for s that ends well before m characters of t. We are going to dynamically update t s plus 1 and we do that using the properties in modulo arithmetic that we already discussed. So, recall that this h was the general d raise to m minus 1 mod q. T s itself was obtained after mod q operation. So, t was t going from s to s plus m minus 1 mod q. Of course, perform this multiplication and addition and again check for mod q match. If there was a match here you would go back and check for character wise equality. So, analysis the pre computation which involves scan of the m positions of p and t is basically an order m operation. The matching of every position and t the substrings originating at every position and t with p is going to involve a scan over the entire array t. So, that will be n minus m plus 1 positions in t. Now, if there were c of such hits which was spurious or what we refer to earlier as false alarms the expected matching time going to these false alarms will basically be of the order of n minus m plus 1 which you have already accounted for plus c times m because with every spurious hit you will need to do a scan over both p and t. We have already seen the worst case. The worst case was when t was a raise to n and p was a occurring m times and this led to an order n minus m plus 1 times m. However, the average case is actually better. So, on an average one can expect order of n by q spurious hits basically that an arbitrary t will be equivalent to p modulo q can be estimated to be 1 by q and there are only order n positions. So, this leads to order of n by q spurious hits and one can show that the running time in the average case is basically order of n. What we see here below is the worst case running time and this is illustrated to the example of t being a sequence of n a s and p being a sequence of m a s that is when we incur n minus m plus 1 spurious hits. Thank you.


Welcome traders to another intraday wave analysis session with me Patrick Mungley. Looking at the DAX here we're on the four hour time frame and we've got an impulsive cycle that's continuing to develop. The area of interest for me now versus this swing high here at 15,265 is an equality objective at 15,066. We've had this third wave extension up into the highs here subdivided into two equal legs and to note we didn't get any divergence on this last high so this encourages the view that we are in a wave three we should get a wave four correction now. We've also got symmetry swing support versus wave two coming in at 15,044. So I'm watching for bullish reversal patterns in this area to set long positions targeting a move up to test 15,635 as a wave five objective.


So here we are, heat number eight and we're underway. Gate number two, absolutely. Once again with Schmarzlik nailing it, hugging the inside through the first cover. Yeah, Lambert round the outside, gets the better of Dan Buley who slips back into third place.  Would have moved from him, but Schmarzlik responds. Repays the compliment, superbly well there, had to do it.  Make the pass back immediately because if Lambert settles into his race, settles into his pace, he's a very difficult man to catch. Schmarzlik wins then. Schmarzlik and Neil Metzger go ahead for the first time this evening, Metzger's lifted violently. Schmarzlik's there, but I've got to say, Dahl made a great effort there initially, but the first turn belonged to Schmarzlik. He's down the back straight, Metzger just may have blown it there, he's gone wide. Now Dahl coming back at him, but Schmarzlik just about recovering in the nick of time. Freddie Lingwin's up high and wide, but he's out of the points at this stage. But for Schmarzlik, this is a dream run here coming through. Yeah, Lingwin is coming through, but for Schmarzlik out in front. Looking good for another race win. Benson has proved very costly here. The championship will go on, of course, because they've bowed through to the semi-farmers, but Schmarzlik doesn't in style. The dual movement on the outside from Jenovsky. They get to the first corner, Dudek shows Lambert chopping back to the inside. Brilliant move. Oh, he's just not quite... Ah, come Schmarzlik! Round the outside, Fabulous move from him. Robert Lambert now through into second place, a hard charge from him to do that. Certainly Metzger Jenovsky committing to the outside with Dudek just missing out there.  One moment, Schmarzlik's away. Looking comfortable, here comes Schmarzlik out in front, but Jenovsky's now second place. Can Lambert respond? Don't think he's going to get there. The champion's through, he's into the final, and he's going to be joined by his compatriot, Metzger Jenovsky. Smash him, race for second and third. Jack Roy, the referee. Renites on and we're away. What a start from Schmarzlik. Absolutely flew away from gate number two. He turns it tight, down the back straight. Lingon coming on strong round the outside. Got to say that Wuffendon just trapped there, is aware of riders coming on strong. Lingon now through into second place. Easy through into the first. No, Schmarzlik slams the dorsher. Championship before he even rode in the semi-final, and he's going to go on and win back-to-back, Royal Prix, and his third Royal Prix win of the year. Schmarzlik wins here in Malina tonight, the new World Championship. Congratulations to him. What a way to round the night out. Good performance for Freddie back in second place. Jenovsky on the rostrum again. For that man, the night belongs to Bata Schmarzlik.


Hello, and welcome to this presentation of the STM32L4 System Configuration Controller. Please note that this presentation has been written for STM32L47X48X devices. Key differences with other devices are indicated at the end of the presentation unless otherwise specified. STM32L4 devices feature a set of configuration registers. The system configuration controller gives access to the following features. Remapping memory areas to address zero. Managing the external interrupt line connection to the GPIOs. Certain robustness features. SRAM2 write protection and arrays. Floating point unit interrupts. Firewall control. And finally the configuration of the 20 mA high drive IOs used for I2C fast mode plus. Pictured here is the 4 gigabyte linear address mapping of the STM32L4. The flash memory is up to 1 megabyte in a dual bank configuration. The FB mode mitt determines the address mapping of banks 1 and 2 as shown. It also determines which bank is alias to address zero, which is the start of the vector table as seen by the Cortex-M4 core. The SRAM total size is 128 kilobytes. It is split into two parts. SRAM1 is 96 kilobytes starting from address 20 million hex. And SRAM2 is 32 kilobytes starting from address 10 million hex. SRAM1 is located in the usual ARM memory space for RAM, while SRAM2 can be directly accessed through data code and instruction code buses with zero weight states and can be used for code execution. The memory remap at address zero allows you to boost up performance thanks to instruction and data bus access instead of using the system bus. The memory remap at address zero is selected using the mem mode bits in the system configuration remap register. They allow you to select either the main flash memory or the system flash memory, the FMC bank 1 which addresses NOR or PSRAM, the SRAM1 or the Quad SPI. The FB mode bit in the system configuration remap register allows you to swap flash memory banks 1 and 2, which allows you to boot either in bank 1 or in bank 2. Here we have the STM32L4's bus matrix. The bus masters are shown on top, and the Cortex-M4 core and the two DMA controllers communicate with the bus slaves, shown on the right via the circled intersections. The flash memory is read through the accelerator. Cortex-M4 instructions are fetched through the instruction bus and literal pools are read through the data bus. The SRAM1 is accessed by default by the system bus and can be accessed through iBus and dBus when it is remapped at address zero, shown by the dark blue circles in order to increase performance. SRAM2 is always accessed through the iBus and dBus, allowing zero-weight state code execution. The Quad SPI and FMC banks can be read and executed through the system bus by default and can be remapped at zero to increase performance. The two DMAs can access all memories and peripherals. Different bus masters are able to access different memories and peripherals simultaneously via the bus matrix, enabling high-performance compute operations. There are three boot modes, which are selected by the boot zero pin and an option bit named nBoot1. When the boot zero pin is at low level, the SM32L4 boots from the user flash memory, which is aliased at address zero. This is the standard method of booting the STM32L4. When the boot zero pin is at a high level, the nBoot1 bit determines the boot mode. The default option bit setting is high, enabling the boot loader in the system memory portion of the flash memory. The other option is booting from the SRAM1 memory region, which may be used for debugging purposes. When the selected boot is the user flash memory, the STM32L4 boots from bank one, if the option bit BFB2 is zero, which is the default value. If the BFB2 option bit is set to one, the STM32L4 boots from the flash memory bank two, as long as its first address is a valid SRAM address. Otherwise, it boots from bank one. This check ensures a valid vector table. The on-chip boot loader allows the user to program the flash memory through a serial communications peripheral. The supported protocols are USART, USB, CAN, SPI, and I2C. The 32 kilobytes of SRAM2 is particularly suitable for performance, integrity and safety, and low power. The SRAM2 is accessed through the data and instruction buses without any remapping, which enables code execution at zero weight states. The SRAM2 supports parity check. The data bus width is 36 bits because four bits are available for parity check, one bit per byte, in order to increase memory robustness, as required for instance by class B or SIL standards. Class B and SIL are safety standards. Class B is for home appliances, and SIL is for the safety integrity level. The parity bits are computed and stored when writing into the SRAM. Then they are automatically checked when reading. If one bit fails, an NMI is generated. The same error can also be linked to the break input of the timers. Note that the SRAM2 parity check is disabled by default. The SRAM2 content can optionally be retained in standby. The SRAM2 is also suitable for secure applications. The SRAM2 can be write protected with a one kilobyte granularity. The SRAM2 can also be readout protected via the RDP option byte. When protected, the SRAM2 cannot be read or written by the JTAG or serial wire debug port, and when the boot in system flash or boot in SRAM is selected. The SRAM2 is erased when the readout protection is changed from level one to level zero. Please refer to the system memory protections training for further details. The SRAM2 can be erased by software by setting the SRAM2 ER bit in the SRAM2 system configuration control and status register. The SRAM2 can also be erased with the system reset depending on the option bit SRAM2 RST in the user option bytes. The system configuration register 2 contains the control and status bits linked to safety and robustness, such as the SRAM2 parity error flag and the control bits to direct some error detection events to the timer's break inputs. This allows timer outputs to be placed in a known state during an application crash. Once programmed, the connection is locked until the next system reset. These internal events include a flash error code correction event, a power voltage detector event, SRAM2 parity error event, and the Cortex-M4 hard fault. The system configuration controller manages the selection of the GPIO to the external interrupt or event signal, which is used as asynchronous external interrupt or event with wake-up from stop capability. Configuration register 1 contains the floating point unit interrupt control bits. It also contains the I2C fast mode plus 20 milliamp drive enable control bits. Four IOs can be configured with high drive mode even if they are not used as I2C alternate functions. They can be used to drive LEDs, for instance. The IO analog switch voltage booster is also selected here as well as the firewall. Here we compare code execution performance at 80 MHz while running the EEMBC CoreMark benchmark. The maximum performance is reached when the code is executed in SRAM2 with data located in SRAM1. It is also possible to reach maximum performance with code in SRAM1 and data in SRAM2 if the SRAM1 is remapped at address 0. When executing from flash memory at 80 MHz, the maximum CoreMark performance is reached when the ART accelerator is enabled and there is almost no loss of performance in the flash access time requiring four states at 80 MHz. Enabling the prefetch buffer yields a slightly higher score, 3.3 CoreMark per MHz. In addition to this training, you can refer to the reset and clock control, power controller, interrupts, flash and system memory protections, timers and I2C trainings. For more details, please refer to application notes at I2606, STM32 microcontroller system memory boot mode and AN4435, guidelines for obtaining UL, CSA, IEC 60335 Class B certification in any STM32 application. This slide presents the key differences between baseline STM32 L47X for 8X devices and other devices. Multilayer AHB matrix is bigger for STM32 L49X for AX devices, including new master DMA2D Chromart accelerator for graphics and splitting FMC quad SPI slave into two separate slaves in order to increase bandwidth in case of FMC working in parallel to quad SPI. On STM32 L43X 44X 45X 46X devices, there is no FMC slave and the flash memory is single bank. The SRAM sizes are different for each device and are listed here. On STM32 L4 derivatives, the SRAM 2 is aliased to offer a continuous address space with SRAM 1. On STM32 L4 derivatives, the boot mode is selected either with the N boot 1 option bit and pin boot 0 with the N boot 0 option bit. Depending on the value of the NSW boot 0 option bit in the flash OPTR register as shown in the table. A flash empty check mechanism is implemented to force the boot from system memory instead of the main flash memory if the first flash memory location is not programmed. This feature is only available on STM32 L47X 48X and STM32 L45X 46X On STM32 L4 derivatives, it is possible to boot from additional peripherals as listed in this slide.