I'm Carol Padden. I'm from the University of California, San Diego. I'm a professor of communication at UCSD. I work primarily in linguistics and culture and also history. Well, what really struck me was what was familiar about it. There were some pieces of poetry I hadn't seen and, of course, a few that I had. Malzcun, who we lost recently, which is very sad, Eric Malzcun, and Bob Panera. Now, of course, I grew up watching Bob Panera and seeing his poetry, seeing him perform stories and such many times. It was so nice to see that that particular poem that he'd written, I remembered it very well and how he expressed it in the particular way I saw on the tape. He was the same generation as my father at Gallaudet and what's interesting is he would write the poetry and when you would watch him perform it, you would see the rhyme actually represented on his mouth. He did these beautiful translations. He was very ordered and deliberate. It's really poignant to see his work. It's interesting because I believe he performed the one I saw in 1984 and I remember seeing it when I was a child. So seeing it again, I saw that he added the element of the small white bird on his shoulder, which I didn't remember from before. It's as if he was giving the signs a chance to shine in a different way by adding that element. The other part about the rain-pitter pattering on the eaves that he added, he was making it more visual in the performance than he had before and that was really interesting for me to see. Ella's poetry, Peter Cook, his older poetry, of course, when he was younger, but performing his older poetry. I'm more familiar with his work recently with Kenny. I really enjoyed seeing that a lot and I actually wrote about Peter and Kenny's work in my book about Deaf Culture and I think that's what people really enjoyed watching was the poetry presentations. Now, Clayton Valley, I met him at an SSLRT research conference and I'm trying to remember how somebody else might remember better than I do. I don't remember who it was, but somebody gave me the responsibility of putting together a night of poetry performance. Patrick Graba was there, Ella was there, Bob Hiner was there and somebody said, you've got to meet this guy named Clayton Valley from Las Vegas. I've seen his poetry. It's really interesting. Why not ask him to get involved in the performance? So I did ask him and he was full of trepidation. It's really interesting. He didn't seem like the kind of person who would have gotten into the poetry world but he'd fallen madly in love with it, it seemed. I guess it was the right time, the right place, the right time for this particular group of poets. He was really engaged with the idea of hand shapes and rhyme. It was really amazing how he would put it together. He was really deliberate about how he constructed it. He had a more linguistic view of poetry and I think that linguistics was informing the idea of poetry at the time. I think that Gil Eastman was also there. And let's see, we asked Patrick Grable, he performed something. I think he did a little bit of poetry and we did make a video of that event. I think, I'm not really sure, boy, I have to get hold of somebody to see if we did or not. It was a special moment when everybody came together, this group of performers. Patrick, he performed on the harmfulness of tobacco, that monologue. It was really beautiful, he did a great job. And Vali did also. Now we had a rehearsal before the performance and Vali would stand during his slot and he'd say, oh no, that wasn't right, I messed it up, let me do it again, again. He was extremely nervous about it. He had such an awareness of how precise he wanted it to be. He was really worried about what other people would think. And other people had this very flowy, actorly skill but he didn't have that kind of thing in his background. He was constructing his poems and really thinking hard about how he was making them in sign language. Dot Myles was there, of course. And this is a group of folks that was never on stage together again. Dot moved back to England afterwards. Everybody just got scattered to the winds and we never had a group like that together again. When I see some of the new poetry that's there from other countries, it's really fascinating, especially those from Italy. It seems like sign language poetry is kind of taking the world by storm now. In Italy, there's a brother and sister performance duo and they play off of each other in the same way that Peter and Kenny do. It's different than what you see here and there's just so many different ways to create sign language poetry across the world. I believe so. Gosh, I'll have to ask, I'll have to look it up. I don't remember which conference it was. It might have been TISOR, the second one that I think was held in Boston if I'm not mistaken. Yeah, I'll definitely have to look it up. It was either that one or SSLRT, I'm not sure which. Yes, well, we called it poetry with the old sign like a P on the arm instead of the new sign that people are using now. It seemed that people were understanding there was a new generation of poetry. People were very aware of it, what they were creating, how they were performing it. And these days, I think with the younger sort of hip-hop poets, you'll see some kinds of poetry. Well, if you look in the old days like Sam Sopala, he used a lot of film techniques, cinematic forms, and David Rivera does a lot of television kind of techniques. So it's different. He uses a lot of slow motion in his work and he'll slow things down. So he's copying the sorts of things you might see in television. There's a lot of visual genres that seem to be merging together now. But there's the street urban kind of hip-hop kind of performance now where the hands aren't kept in such precise orientations. Back in the day, it was very deliberate and signs were produced very crisply. But now there seems to be a more casualness to it, an improvisational quality. It's more modern, something that's of the moment kind of thing. Yeah, and slam, is that the sign for it? Yeah, slam poetry especially, what I see now, the performers that are out there. You know, from comparing the old days where it was so planned and state and formal. And now from what I see, the people that are just coming up on the scene, it seems like it spur the moment, which I think is great. It's nice to see that becoming more popular. I think that the science of linguistics has had a strong influence on the idea of handshape and form and what have you. There's a lot of artists and performers who look to science for some inspiration. So they're deriving some things from that that we are finding infusing the art forms. The idea of handshapes and different linguistic elements like that. I think the newer ones feel like, oh, we're past that, that was back then. We've already proved what ASL is, we don't have anything to prove anymore. It's like Peter, I love this one performance he does. He said, this isn't even ASL, don't even try to understand this poem. I really love that. This need to be clear and understand the message that used to be the status quo doesn't need to be so up in people's minds anymore. It's sort of like anything goes, right? And I think that, well, maybe it's like television and film used to be. In the beginning you had to give a lot of exposition about the background and wait until things got going. Because if you started in the middle of the story, people wouldn't understand the context or who was who. And if you arrived in the middle, then later you would come to realize what the message was. And I think that's what's happening more with poetry. They're not afraid to break that old rule of exposition. Yeah, not anymore. You don't have to do that anymore. Right? Yeah, right. There's a lot about modern life that finds its way into the poetry. Artists reflect what's going on and tell us what life is like before it even happens sometimes. And that's the role of the artist is to see and express things before we all completely understand it. They don't come after the changes. They come before the changes. Today, looking at what's going on, what people are doing, it's almost like a portent of things to come in a way, right? It's interesting about the beat generation of poets. Many of them were intellectuals. They were rebellious children of the 60s. They were very well educated for the most part. Many of them were affluent. And they were part of, I don't know, more of a higher echelon of people who were well educated. And they knew what classical poetry actually was, and they set out to challenge those classical norms. But nowadays with SLAM or any of the other more modern poetry, it's very different than the beat generation. Because with SLAM poetry, quite often the people who create this, they're working class, they're urban, they're street folks, they're coming with it on the spot. They have no knowledge or contact with the classical kind of poetry. And so they're writing about their lives. They're showing who they are. They're depicting themselves of the woman as a black person. And the beat generation, as I said, were more intellectual. They were middle class or upper middle class. So I think that's one interesting way to think about it when you compare them. As it except for Valley, the previous generation of deaf performers based on poetry like Patrick or Dot Myles were performers. Even Ella, they had some contact with National Theatre of the Deaf and the sort of exaggerated way of performing. Let's see, that was founded in 1967. And so NTD, National Theatre of the Deaf, drew people in who already had been performing for a while in the deaf clubs or out and about. But you get somebody like Valley who wasn't a performer at all. He was more of an analyst and a constructor. And nowadays you see all kinds of folks like David Rivera and others. Peter Cook, I think too. Now did Peter work with NTD in their summer school program? Okay, so he had some performing experience. But it seems like with slam poetry, it's more to do with the live performances of the moment. I have some students who are working on that kind of thing now and quite often they perform in coffee houses or just get up on any stage anywhere and you don't have to have any sort of credential to perform. Back in the days of Panera, whatever, you had to prove your credentials. You were from NTD, you were from that legacy. But now kind of anything goes. It's a popularization of poetry that makes it more open. It's as if they're more, well, they're less bound to the kind of constraints that existed before. Now they bring in sort of techniques from television would have you. From what I see on YouTube, poetry on YouTube, wow, it's much more democratized. You don't have to pay to get into a place and see people on stage with YouTube now. You can see anybody on there and you don't have to pay to play. But I think, well, quite often people will say, oh, a three-year-old could do that. But a three-year-old didn't and you didn't either and where were you?  So some people go ahead with poetry and I mean, I think there was a moment for poetry at that particular time when sign language was coming into its own and being recognized. And now I would say that not only is poetry becoming more democratized and you don't need to be credentialed, but there's a lot more different creativity than go into it. It's more accessible to everyone and there's so many wonderful creative things going on right now. I saw something recently that I hadn't seen before. There was a British sign poet and the kind of techniques that were being used were something I hadn't seen any place sell before and didn't exist in ASL. So you have to think of it globally now, the UK or Italy. It's just amazing. There are so many different ways you can do it now. And you realize that there's even more out there after looking at what ASL has. You realize that it's a global pursuit now. Yeah, I heard about him from Kenny. Vim, mm-hmm, Vim. Best name. Don't remember with a W or something like that. Yeah. Yes, it's beautiful. Well, right. I'm not so much concerned about what to call something. Is it this kind of poetry or that kind of poetry? How to classify it? Doesn't really concern me. But first, you realize it usually has to be about something. Now it's a political moment and of course, the expression itself became political as well. I find it interesting that often, not always, but politics just isn't involved at all. The poetry is just for the joy of experimentation or for entertainment and showing that there's different ways to do something. But for example, Peter and Kenny's work as well. And they come up with things and sometimes they say, like I said before, don't even try to understand this. Just watch it and enjoy what you're seeing in front of you. Why not? I mean, who makes the rules anyway? Yes. Yes. Well, I think that poetry is obviously cathartic. Yes, poetry is very cathartic for the person who's performing it, of course. But now what's interesting, I think, is the idea of live poetry or slam and the competitions that they have. People standing up there and performing their pieces and competing with each other. Different things like that. And people realize what is the role of the poet. They're supposed to be doing things that we don't necessarily do in everyday conversation in a prosaic way. They're doing it in a performative aspect. And it's a big challenge for a person to be able to get up there on stage and represent. Now, in ASL poetry, maybe from the very beginning, it was always that way. But now, with more live poetry and especially with teenagers doing it, it's more about the body. It's as if they're saying, look at me. I'm a woman. I'm black. I'm Hispanic. I'm working class. And look at me. I'm embodying this. So that's a part of the expression. And it was always that way with American Sign Language poetry. I mean, at first focusing specifically on the hands and arms and later becoming more of the full body experience. But it was always who I am as a deaf person. Classic poets always read. They read from a printed page. So it wasn't the body. It was the voice reading something that was already disconnected from an embodied experience and codified on paper. One thing I don't know if you've noticed or not, but does all poetry have to be memorized? Or is it read? It seems like it has to be memorized. And quite often that's one of the difficulties and challenges. You have to remember the order of things and not forget. Now an actor always has to memorize their lines before they can deliver them on stage. But a poet has to do that too. So they not only have to create it and order it correctly and so it makes sense, but also worry about if they're going to forget a line or two. Live poetry is almost anti-television, anti-film, and more about the connection and relationship with the audience. It's about this moment. It's not mediated through television or film or other technologies anymore. So it's looking for a way to build a rapport with the audience. I was wondering about what's on YouTube. What kind of ASL poetry is on YouTube? You're saying there's a lot? There's a lot of ASL poetry there? Yes. Yes. In search of an audience. In search of an audience. Yes. It's sort of like, please, audience, where are you? I know there's somebody out there, just one person out there for me. Yes. I find YouTube a wonderful tool for teaching. I find so many amazing things there that I can use and things I never would have found before. It's just fascinating what's happening with YouTube and what it does to poetry. I haven't done that really.  So I just would type in ASL poetry and then there'll be a stream of things on the sidebar. Okay. You had mentioned previously the idea about the beginnings of poetry. Thinking about how rhythm was used. I talked about this before. One, two, one, two, three, a rhythmic rendering of poetry. So with performance poetry, maybe it works a different way. And what's the difference between hip hop and rap poetry and live poetry? Rap seems to be bound to the music world. And hip hop seems to be more rhythmic rendering. It doesn't have to rhyme. It does have to have a certain kind of rhythm. So I wonder about finding a distinction between those kinds of poetry and performances for you when you look at them. Because sometimes storytelling and poetry look the same to me. And where is that line of demarcation between them? Yes. One thing that's interesting about live poetry performances is that they're so spontaneous. They're only being performed by one person. And could anybody else ever do Peter Cook and Kenny's work, for instance? Yes. Fally's work. I do know that children have performed that as well as other people. I think Ella often performs Dot Miles's work. And has given it a try. I tried it even once for a university project. And I wasn't really sure. They wanted me to help out. So I saw that was fine. I'll try to do a rendition of it. And I don't know. This is my interpretation. I don't know if it's accurate or not. But these days it seems like stories or poems are specific to the person. Right. And poetry is, for the most part, meant to be passed down through the generations. Maybe. Maybe that. But also maybe the meaning of that particular poem is meant to be performed by that person at that time, at that moment for YouTube. Or maybe some other person just might co-opt it for themselves. But one thing you try to think about is the difference between classical kinds of poetry. Paneras. Or Dot Miles. They're translated poetry. I mean anybody can translate something, right? But it would be very difficult to duplicate a performance by Peter Cook. They could practice, they could rehearse and try to do that. Miles came up with Jabberwocky, but then it was made famous by Joe Volez who actually performed it out and about. I did see Miles do it and it was so interesting. He was creating a starting point. He was creating a beginning translation and then Joe took that further the Jabberwocky and made it more of a performative act. So that's right. Joe performed it, but the original translation was begun by Miles. So that kind of poetry or that sort of echelon of poetry is for other people to do, but maybe other kinds, more modern kind isn't because it's so specific to the person's body that it might not be able to be performed by other people or if another person really wants to. I mean that's a question to ask, right? Would Peter and Kenny complain if somebody else wanted to duplicate their work and re-perform it? Right, right. It was very, very ill near the end. Yeah, it was a frozen text kind of translation. Wonderful that you have that documented. That's great. Yes, I heard a very similar story to that and it's really interesting. Do you have the Velez version? It is available on film. Hmm, do I have it? Gallaudet for sure has it. I know they have it. I have seen it and maybe I saw it at Gallaudet. It's an NTD-created film, I think. I think it was part of the third eye performance and it is gorgeous. It's just brilliant. Beautiful piece of work, really. Are you going to talk with Michael Olsen? He's wonderful. Anything you need, just tell him. And you should... Yeah, get hold of him because I know they made a film and they translated... Was it Hamlet? Maybe it was King Lear. I think it was Hamlet. Anyway, you can ask him about it. They have a broader way of different performances but they incorporated poetry within the performances and I think that if you go back to the 60s you'll find some really interesting pieces within older plays and other performances that they have archived. It's worth it, really worth it and he's the best person to work with for that. They have wonderful videos from what I've heard. Yeah, someone told me they've got to hurry and they have to make sure that they're in an environmentally controlled environment because if it's not, they're going to degrade. Somebody needs to put them in Gallaudet or some repository, they've got to. People always think, oh, 1967. That was just last year. Fine, everything should be okay for a while longer and then a while longer passes and all of a sudden it's 2007 between 1967 and 2007. It's been 40 years already. Well, you should go. I have some other friends who are very worried about this too. Can we pause for just a second? Yes, well, it works both ways. We create things and after they're created sometimes later it comes back to affect us in different ways. People have always created tools or other inventions and then after the thing has been created for its purpose, it turns around and now hits us in ways that we never expected. And I think it's the same way. It's a reasonable way to think about the impact of poetry on us. How people think, how they see the world and how the performance of poetry has changed and how we think about it in different ways. There's some new ideas and things that we'd never thought of before. We're in a state of transition. There was a transition moment when the language ASL was named and accepted. And now we're in some sort of moment of transition and perhaps we could say it's about identity. This generation of deaf folks with cochlear implants and the way things are, I mean, we're new. It's a new way to be and it's a new environment and so people are giving expressions and a voice to that transition time we find ourselves in. Sometimes poetry even leads the way. Dot, once said about how she was performing at National Theatre of the Deaf one time that she was developing a translation of something and someone came up to her and said, why don't you try to think about this from your heart, from deep within you. And I can't remember exactly how she put this into the words what happened, but she said that that was an impetus for her to look at translating English into sign and doing it in a different way from writing into more of a signed performance expressive way than her. So poetry offers a vision of what will come when you look at who performs something, you look at who they are, what is it they're trying to say and maybe it helps you think about things in a new way. The moment of a poem being performed doesn't mean that that's the end of that poem. There is a time afterwards where it comes back to influence us and have impacts upon us even after the moment of the performance. Yes. Yes. Poetry has become more popularized now and everybody thinks they can do it. You don't necessarily follow anybody else's constraints. You can come up with your own. It's much more accessible and storytelling the same way. People making films, it's a very expressive moment in our culture and YouTube makes that possible. Blogs make it possible. Vlogs make it possible too. It's very democratic now. It's great time for expression, for good or for bad because there's some stuff out there that's got to wonder. People are just emoting and effusing all over the place but that's all part of the whole same thing and it's all okay. We're in the midst of an election year now and from the blogs and Facebook posts so many different ways to communicate with people that are going on now. Email. We're in such a new mediated world. Deaf and poetry trying to navigate their way through this whole system and society of what's going on. It's interesting to see the different ways of expression. I've been writing about that. At the same time we see more intervention with deaf people creating ways to mediate the deafness cochlear implants and such. We have a parallel track of creativity and explosion of ASL. Now with these two tracks someday converge or continue to diverge perhaps they'll stay parallel but watch each other across the great chasm regarding each other with trepidation. Who knows? Or maybe they'll influence each other. Poetry is a way to formulate language in a specific way to depict an idea and to draw attention to the language itself and somehow pop the message to the audience. That's my definition of poetry. Well growing up I'm trying to think did I see poetry? I know I did see Bob Pinera for sure. I did see him perform. Will Madsen had written that poem. I think it's to a deaf child. Yeah and I think sometimes he would perform that. I would see him perform things that he wrote. And that was my idea of poetry growing up. What I saw out and about in the community. Performance before NTD were primarily skits. You know Gallaudet would have these translations of Shakespeare or the classics or comedies. They did put on the man who came to dinner. I remember that one very well. And that was my idea of what performance was. So it's interesting to be there at that moment when people are saying let's do sign poetry. Let's do this a different way. Let's try to create rhyme and incorporate different linguistic elements. Ballet really. He was such an unlikely poet. Truly. If you were to look at him he had no connection to National Theater of the Deaf. He had no performance background. He didn't have linguistic background before he got into linguistics. And obviously he was thinking a lot about ideas. He's very engaged with in our life. He lived in Las Vegas or maybe it was Reno somewhere in Nevada. And nobody knew about him. So he's very memorable for that reason. His personality short life, beautiful poetry very deliberately constructed. Ella, Patrick and Dot I always loved Dot's poetry. And then when you see Peter and Kenny their work and you see how they collaborate together in their performance it's so interesting. I've seen poetry in other places. And every place does seem to have poetry wherever there's sign language. There seems to be a movement globally right now. And it's a beautiful thing. There's beautiful stuff out there. I always have a special fondness for that first I don't know if you call it generation that group of poets of my generation that I'm familiar with. It's as if they all spontaneously came to be at the same time in the 70s and 80s of that moment. So I really have a fondness for that time. I do love what I see now. There's some beautiful stuff wonderful creative things being produced now. But they're based on and scaffolded off of that previous work. It's fortunate that we have that. I decided I wanted to major in linguistics in high school. I was thinking about what I wanted to do. My mother was an English teacher so I thought fine maybe I'll go to school for English. And then somebody was mentioning linguistics and that captivated my interest. I wanted to do something related to language so I thought fine. I'll go to college and get a bachelor's in linguistics. I went to CSUN for one year and then I transferred to Georgetown where I graduated. And I started working with Bill Stokey's lab with a lot of the people whose names you're familiar with who started those first publications about sign language. Bill Robin Baddison Nancy Fishberg Harry Markowitz and Carol Erting just all these people who are all together working at the same time. James Woodward it's just a wonderful time to be working and everybody thought we were crazy. Why do you like that stuff? You know you're crazy. You're just rebelling against things. We thought we were doing something completely new and now I woke up one day and found that it's completely mainstream. Everybody's talking about it but I remember when people would mock me out and now people talk about ASL and I'll say well where were you back in the 70s?  What was depressing about her? What was so sad? But really my parents' generation was very threatened by a lot of what was going on. They say what are you doing? What is that? Why are you hanging around with linguists? What are you trying to do? Because really we were having this interchange of ideas from lots of different fields, different groups of people. My parents' generation were used to being with the traditional fields of deaf ed, audiologists, rehab those sorts of professions and we were working with sociologists and psychologists, linguists neuroscientists. This was a whole different ball of wax that we were bringing to our work and my parents weren't happy about that. They say what are you doing? Why are you calling it that ASL thing?  We know what it is. Now they'll talk about ASL and I'll say wait a minute I remember we wouldn't even spell the letters ASL and now it's common parlance so the earth kind of changed on its axis and some people anyway it's very interesting history there. Yes part of it is a generational thing they think we're running things fine until you shake things up, stir the pot and now you've upset the whole natural order of things our nice clean orderly way to think about how things go and how everybody agreed about and now you challenge the status quo I think it's a generational schism I think it all worked out the idea of sign language and signed English. Here's this new word you're calling it ASL. Who are the people behind this? They didn't trust it, the linguists. I remember saying somebody came up to me one time and said oh are you still doing that linguistic with a Q instead of a G and I said no it's linguistic with a G oh right this person said I thought it was linguistic you know I saw the same person recently they didn't say the same thing but still sticks in my craw. It was an accident, yeah. In Britain they have what's called a coroner's inquest in cases such as this and they have different names for the decisions they come to and this decision was rendered to be a misadventure which means an accident what we call an accident here in the states they call a misadventure. She was also heavily medicated at the time and very difficult as a person people who knew her who were close to her said that she struggled a lot through a large part of her life with a lot of dysregulation she was on different diagnoses different medications she was very creative person but it's really hard to know it's always going to be a mystery I think what happened to her. Well first you have to figure out what it is you're trying to prove and you have to believe in yourself that's first and foremost and then you have to find somebody's opinion whom you trust and respect find a few different opinions and figure out if there's discrepancies between them how to resolve those and whose opinion do I value and trust the most. You have documented a lot of things including myself I've never seen there's a lot of things that were filmed that are put up on a shelf and forgotten about so it takes a lot of time and effort and skill to be able to consolidate them figure out which parts to leave which parts to keep edit it all together so it tells a cohesive story and that's really the most important thing I think you have to do is to tell a story. Every film has a point of view because without one nobody would bother watching it so with a particular point of view you'll develop some interest and some people may even disagree with the point of view that you put forth but you have films you have documentaries that are out there and if you find one you really like it could serve as a model for you it seems that there's a lot of resurgence and interest in watching documentaries these days and they're doing very well seems to have a lot of impact on people I enjoyed watching what you showed me that sampler that you sent it was very interesting am I forgetting anything I think well I'm really happy you're doing this um I read through the questions I think we covered almost everything maybe what you could do is look through some of the new poetry and add it to the end of the film yes right yes each of those people followed a different path Joseph Castranovo he ended up hanging himself and dot jumped so I don't know if it's true or not but people said just stop there's other people who are better than I do and then what I do so I can just go on and do other things I don't need to do poetry anymore so I think that person became more involved in communication but dropped performing and decided not to be a poet anymore yes yep I did see him maybe at the end as the credits roll you could say something about the people who are gone I liked what you had in the beginning of the sampler the explanation that paragraph it was really nice to read that you're taking advantage of where you are you're in Rochester so you're telling the Rochester story yes really sometimes that's enough sometimes it really is just enough alright onward yep just doing the universe a favor it's wonderful I'm really excited and I can't wait to see it


Okay, this is a video write-up for the challenge blank, the first problem on the capture-the-flag TJCTF. Challenge prompt is, someone told me there was a flag on this site, so why is it that I can only see blank? And this link here, we can go check out the website, although it is simply a blank page as the challenge suggested, so you can right-click anywhere on the page and select a view page source or simply hit the hotkey control U. And you'll see an HTML comment here denoted by the green text in your browser and these syntax or HTML comment along with the HTML of the page itself, but the flag is simply right here. So we can copy and paste that and submit it and it's just that easy. If we wanted to write a get flag script for this, we could just use curl in our command line, get the URL of this page, which I need to still snag, remove the view source here, we can curl that and there is our output. Let's make it silent with tack s and then simply we can grep for only the line that has the flag and I'm actually going to be using only in tack e to use extended regular expressions. So I can say the flag format tjctf and regular expressions, anything within those braces. We can say color equals none, so make sure we get none, only the text that we want, submit that and of course save this line as our get flag script. Then bash as our shebang line, copy and paste that in there, mark the script as executable so we can run it as often as we need to, redirect that to a saved plain text file, flag dot text and then we can move this to a completed challenge. Perfect. All right, that is the simple solution and easy success for Blank, the first challenge on tjctf. Quick and special shout out to those people that support me on Patreon. You guys are phenomenal. Thank you so much for everything that you do. One dollar a month on Patreon will give you a special shout out just like this at the end of every video, five dollars a month will give you early access to everything I release on YouTube just before it is released. If you guys like these capital flag video write ups or anything else that I tend to do between programming tutorials, etc., please do like this video, maybe leave me a comment if you're willing to subscribe. Join the Discord, link in the description. It's an awesome community of other ctf players, programmers and hackers and hey, I'll see you in the next video.


I came to UPIKE in 2014 and I believe it was in 2015 I decided we should have this event called UPIKE UPARITIES. We came up with the idea, it's similar to something I'd seen at my undergrad where they have a competition that's open for the whole campus that encourages students to try to make parody videos of TV shows or movies or things in popular culture and have a competitive screening with cash prize money. We put this on because we love to see kids do things that are creative. We love to see them come out and showcase work that they've made that they had a lot of fun making with their friends and the cash prize money is a great motivator to kind of open their eyes and say hey this is fun, this is a great creative experience, I enjoy this. And so my hope is that some of the students that participate in this will be more interested in the film and media arts major and take some of our other classes. So we just really enjoy this event and anything creative that the students can come out with.


Hi guys, welcome back to my YouTube channel. This is Daniel Rosal here. So, I wanted to make a video demonstrating the process of trying to fix up a audio video latency in two different ways. One is in OBS Studio and the second one is going to be using Pulse Audio. This is really just applicable for a bunch of users.  So first things first, how would you apply a latency on OBS? Now, I have shown this before but I do think it's really important and I make these videos as much for myself as for other people so I'm going to show it again. But before that, I'm going to say a bit of theory. It's way too fancy. What is latency? What are we doing? So, positive, negative latency or sync offset as it's labeled here. We're doing a clap, let's say, and we want roughly the audio and video to be in sync. Now what would happen if we were to clap, let's say, and we firstly saw the clap then we heard the clap. So the audio is a bit offset but we can apply an offset in order to fix that. So in that case, we would need to be bringing the audio back a bit, right? So again, we heard, we saw a clap then we heard a clap. So that would actually be a negative sync offset. So if you're in this advanced audio properties menu, you get here by the way by going into your audio mixer, right click and then you will want to, then you will want to click on advanced audio properties and you'll get this dialogue open. And you can go negative. So don't think it's only positive just because there's zero. Now we're looking here at milliseconds. So these are actually very small units, 1000 milliseconds in a second. And so when even if we're applying like a minus 300 millisecond latency, we're actually only the offsets just like three tenth of a second, right? If we're playing a 1000 positive offset, then that is a full second positive offset. So I'm trying to look around for props here to not prepare this properly. They just use my hands. Nothing else will work. Audio and video, let's say this guy's video, this guy's audio. So 1000 positive, we'd be moving the audio track up forward by 1000 milliseconds or one second. Negative latency, we'd be pulling the audio just a little bit back. And the case for negative would be if we needed to pull the sound back so we, you know, saw the clap or we saw the clapper board. And then we heard so we need to pull the sound back to get that good alignment going on. So that's one way. So this is doing it in the I'm going to go back to 70. This is doing it in OBS studio, which is good. So just make sure you have your microphones labeled intelligently in some way because, you know, if you are working with multiple mics, you do not want to apply latency to the wrong microphone. So live is not particularly good. So I'm going to call this podcasting one.  But now it has taken effect.  So all these just be descriptive so that you can be sure that you are applying a offset to the correct microphone and not to someone else's microphone. Okay, so that's number one doing it in OBS methodology to is using post audio. So let me just bring over the post audio control panel here. And post audio is a GUI for for Linux Ubuntu, I'm not sure other Dabian distributions, but in any event, you can click into input devices and you can see your microphones. So you're seeing now the Maono microphone I'm using it's a podcasting condenser mic. And the firmware often gives it kind of weird names Maono fairy. I don't think this is called a fairy, but you know, you'll get to know which is your microphone just by looking at the levels. And just another thing I do is I if I'm not using a microphone so this webcam you're watching me speak into also has a built-in microphone. And because I don't want to record into it now if it's not in my sources in OBS, it's not going to be as far as I know the audio is no way to seep in to the track. But nevertheless, I just if I'm doing recording in the tool like this I just mute it so that there's no chance of that even happening. So I'm just going to mute the source there. Now, you may notice that to the just beneath the level mixer, the level bar here, we have a we have a latency offset. So this is another place you can apply an offset. And again, you can see here milliseconds. And what you can do is just going to turn on my cursor movement so you can see where I'm trying to point to. And here you are able to apply a latency positive or negative. So you can go for 2000, which is two seconds positive latency or you can go for minus 2000, which is minus two seconds or two seconds negative latency. And why might you want to do us here and not there here being pulse there being OBS. So if you were recording your mic into a bunch of different sources, you know, such as a audacity or OBS or zoom meetings across the board, then it would make more sense to apply that latency at the mixer for the operating system than at the mixer for the each individual application. Or that would be my thinking about it anyway. So what I'm going to do now is go ahead and just show you guys a couple of clips I recorded of me practicing the gear. And I did a 60 second 60 millisecond latency for this microphone. Firstly, did it in OBS. Secondly, did it in in post audio. So just going to put myself on mute for this microphone and you can watch these. Okay, now this is 60 milliseconds of positive latency offset the same offset. But this time this was configured in pulse audio advanced audio properties. Okay, this is 60 milliseconds of positive latency configured in OBS studio. Just unmuting my mic now so you saw those two clips first one was same same latency applied and hopefully they look pretty similar. Quite interesting. You can see how quickly the light changes in this room. That was I took those clips like one hour ago and just because the sun is setting it's already like totally different lighting conditions. In any event, I hope that was useful at two places. You can change latency in your computer for recording these videos. And if you'd like to get more videos about OBS video audio Lennox Jerusalem. As you can see, I have not segmented this YouTube video by topic very well. Thank you guys watching feel free to subscribe and look forward to more videos coming out soon.


This 2019 Chevy Malibu RS is stock number 11984 ZA. We're here at Summit Automotive in Fond du Lac, Wisconsin. You're new and use car headquarters. This 2019 Chevy Malibu has the 1.5 liter turbocharged four cylinder engine. It pumps out 160 horsepower. This car has been fully safe and inspected by our service shop. It has a fresh oil and filter change per the state of Wisconsin inspection process. And it is 100% ready to go. Summit White is the color we shoot all of our videos in 1080p, 60 frames per second. So if you have HD capabilities on your computer tablet, smartphone, or television, turn them on right now because it is definitely your best way to check out the quality, condition, and options of the car before seeing it in person. And if you like the video and want to see what we do each and every day here at Summit Auto in the bottom right hand part of the screen is a subscribe button to our YouTube channel. Click that and then click the bell notifications. You'll get updates on the videos we do each and every day here at Summit Auto. This one comes with the painted and polished aluminum 18 inch rims. Continental Pro Contact tires. These are 245, 45 R18s. And these tires have probably about, I'd say, 60 to 70% of the tread left on them. Really good tread left on those tires. Four-wheel disc brakes on this car. Driver side front fenders in excellent shape. You get the projected lamp headlamps. The front bumper and lower valance are in excellent shape. No scuffs or scrapes or cracks on there. The hood is in very nice condition as well. I didn't see any major dents or dings on there. And the passenger side front fender is in excellent shape as well. Paint is very glossy on this car. Looks really good. Passengers side rim, no scuffs or scrapes. And as you do go down this side of the car, take note of how clean the body is, how reflective and mirror-like that paint is. We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down but you're still interested in purchasing the car, you can see the car. Hear the car when we start it up. And of confidence in the vehicle that you're looking at before you even get here. So when you do get here, there's absolutely no surprises and you can make a smart and informed buying decision from wherever you're watching this video or checking out our ad. Back rims in excellent shape. You do get four-wheel disc brakes on this car. And the back tires have just as much tread as those front tires. Capless fuel fill on this car, which is a really nice feature. Never get gas on your hands again coming around to the back of the vehicle. The rear bumper is in excellent shape. No scuffs or scrapes on there. The deck lid is in nice shape. You do get a spoiler on here with that RS package. And the trunk lid is in pretty nice shape. The only thing I saw is one tiny little ding right there but nothing too bad. Back here, you get a nice storage area. There's a cargo nut factory floor mats. There is spare tire underneath here. And then you can put those back seats down by pulling this tab. And I'll show you how those go down in just a second. Coming around to the driver's side just as clean as a passenger side. No dents or dings on the rear quarter. And for full disclosure, this back rim is in excellent shape as well. Driver's side doors look really good. You do get power mirrors. Inside the RS package gives you the black cloth interior. There are no rips or tears on those seats. They're in excellent shape. This car has never been smoked in. It has power driver's seat, lumbar, and factory all-weather floor mats throughout. Auto headlamps, power windows, power locks, power mirrors. You get the nice cloth bolsters on the sides there. We'll hop inside, turn the ignition on, check out the miles and the radio and everything that this car has to offer on the interior. You can see that this one has 22,332 miles. You do get a compass display. And I believe once you start it up it'll have the digital speedometer on there as well. Cruise controls on the leather-wrapped steering wheel on the left. Bluetooth and information center controls on the right. This one does have the Chevy Infotainment System, AM FM radio on here. And it does have Bluetooth capabilities as well. This is also where your backup camera shows up. And you do get Android Auto and Apple CarPlay capabilities where you can project your cell phone to the screen through that system. And if you have a navigation system on your phone projected to the screen and it's like you have nav right on the screen. So pretty cool system. Down here your climate controls, automatic transmission, stability control, passenger side format and seats are in excellent condition. No rips or tears on there. The headliners in really nice condition as well. And you do get on-star and SOS buttons up here as well as map lights. We'll take a quick look at the back seats and then we'll start it up and take a look under the hood. The back seats are just as clean as the front seats. No rips or tears back here. It does have the latch child safety system for any child car seats you may want to put back here. All weather floor mats and these seats do fold down like so.  Back doors are really clean. Child safety locks on those back doors and the bottoms of the doors all look really good. Let's start it up and take a look under the hood. Starts right up. You do get that digital speedometer there. No check engine lights or anything like that. I did want to show you the backup camera that is working. It's pretty nice and clear too. I would personally like to thank you for checking out the video today and hopefully from this HD video. You will have been able to tell just how clean this car is all the way around. Verify its quality and condition and options. Under the hood we have the 1.5 liter turbocharged 4-cylinder engine. Engine bay is very very clean, runs very smooth. Once again this car has been fully safe and inspected by our service shop as a fresh oil and filter change per the state of Wisconsin inspection process and is 100% ready to go. There's your emissions sticker. Just a really nice clean car. And to see more pictures of this car, one of our other 450 new and used cars, trucks, SCVs, minivans, Wranglers, half tons, three quarter tons, one tons, you name it, we got to go to that website right there, www.SummitAuto.com. Full pictures and descriptions of every single vehicle from two locations all at SummitAuto.com. And if you'd like to check out more HD videos you can go to youtube.com.com. SummitAuto remember to like, subscribe, and share on this video and all the videos that you see there. In fact any second you will see a link to subscribe to our YouTube channel and the upper left link to more Malibu videos like this one, the upper right link to this vehicle on our website and the lower left in the link to one of our latest YouTube videos in the lower right, click those, check us out. And we're super excited to help you with this Ultra Clean 2019 Chevy Malibu RS in Summit White Clear Coat. Thanks again for checking out the video and remember to like, subscribe, and share.


Rafael Nadal vs. Alexander Zverev is the second semi-final of the Paris Masters for 2020 and this match is going to be a blockbuster. Both players have had to fight to get their spot in the semi-finals. After a first round by Nadal played his fellow countryman Feliciano Lopez and after losing the first set had to fight back to win eventually in three, four, six, seven, six, six, four. In the third round a slightly easier match against Jordan Thompson. Rafael winning that one in straight sets six, one, seven, six. In the quarter-finals another tough match against a countryman Pablo Corino Buster and again Rafa lost the first set but as Rafa always does he came back to win in three, four, six, seven, five, six, one. Zverev's also had to fight his way through his matches. After a first round by he played the second round match against Ketch Menovic winning in straight sets six, two, six, two. His third round against hometown favorite Manorino. It took a couple of tie breaks to decide this one in three with Zverev prevailing seven, six, six, seven, six, four. In the quarter-finals it was a blockbuster against Stan the man Vavrenka with Zverev prevailing in straight sets six, three, seven, six. These two have played six times before with Rafa leading the head to head five, one but the last match went to Zverev and all of their hardcourt matches have been close. Zverev is coming into this match on an 11 match win streak including two titles on indoor hardcourts and Rafa also has a win streak to defend. These two players could be seeing each other in London so this is a preview into what we could be seeing in a couple of weeks time. I'm going for the upset here. I think Zverev might actually get over the top of Rafa based on recent form on the indoor hardcourts. I think Zverev might win in three. Let me know in the comments below who you think is going to win and what do you think the score is going to be?


Your friend has a galvanometer which measures tiny amounts of current in this example up to 10 microamperes and She wants to use it in an experiment to measure Voltages up to 10 volts now. She doesn't want to buy a voltmeter So she comes to you and asks you hey, can you make this galvanometer somehow measure up to 10 volts and Being a physics enthusiast you say sure I can do that I can you know change things inside, but it'll cost you a little bit it might cost you about 300 rupees and she will say Yeah, cool. I will give you that no worries And so the question we want to try and answer in this video is how do you take a galvanometer and convert it into a Voltmeter to measure up to some specific amount of voltage Now before we begin the first question you might be having in your mind is hey, this is a current measuring device How can we measure voltages across it? How does that work? Well, I have one word for you ohm's law. Well, actually that's two words But what I'm trying to say is if you know the current across you know current flowing through any device Then from ohms law we know the voltage across that equals i times r Which means if I knew what the resistance of this galvanometer is Then knowing the current I know what the voltage across it is so for example, let's say the resistance of this galvanometer was Just for the sake of example, let's say it was 100 ohms And if we didn't know we could calculate it so that's not a big problem. We can measure it for that's not a big problem So if we knew the resistance was say 100 ohms and let's say when we're using this Galvanometer, let's say the galvanometer deflection shows 10 micro amp here. So let's say this is the situation right now Then I know the voltage across the galvanometer. We just call it as Vg or something Vg Okay, that voltage across the galvanometer maximum voltage you can think of it over here That would be the current for the galvanometer, which is 10 micro amperes times the resistance of the galvanometer, which is 100 ohms and That would be in this example at least a thousand micro volt or One millivolt so you see I can Think of this as a very very tiny voltmeter and I can just change the sticker and I can say look This is a millivolt meter. All right, so even though we don't think of it that way galvanometers can also be thought of as tiny Voltage measuring devices as well Excellent, so that means I already have a tiny voltmeter which can measure up to one millivolts I just have to change the sticker Right, so the next question is how do I make this tiny voltmeter? Measure up to ten volts. That's the question. We want to try and answer this can measure only up to a millivolt If I put more than that there will be more current flowing through and this will break So how do I? Make this measure up to 10 volts How do I do that? Another way to put this question is how do I ensure that when I put 10 volts across this Galvanometer that's when the deflection shows 10 Because if I could achieve that Then I could just change the sticker put it to we volts and I'm done Then when I put say five volts across this, this is a linear devices galvanometers are linear devices So when I put five volts across this automatically the deflection will be half of this and that will show five Okay, and of course if we were extending it to say 100 volts I could use the same logic. I could just put a hundred here and 50 here And so my big question is when I put 10 volts across it. I want the reflection to show maximum 10 How do I do that? Well, we already know that in order for this galvanometer showed deflection of 10 I need 1 millivolt across it not 10, but I need 1 millivolt across it Which means our question becomes how do I ensure that when I put 10 volts across this device? Somehow the galvanometer only really gets 1 millivolt Do you get the question I repeat when I put 10 volts across it? I want to make sure the galvanometer only gets 1 millivolt in other words the rest of this voltage should get dropped somewhere else Oh You see where I'm very going with this if you want the rest of the voltage to get dropped somewhere else We need to attach something in series with it So here's how I'm thinking If I could attach something in series with it and ensure that when I put 10 volts across it Only 1 millivolt comes across the galvanometer and the rest of the voltage comes across Say whatever. I'm attaching over here rest of the voltage is 10 volt minus 1 millivolt should come across This device Then I'm done because then what I could do is I could just put a box around it So that my friend doesn't see what I did Okay, and I can give this box to her and as far as she's concerned This is a volt meter when you put 10 volts across this entire device It'll show 10 but you and I know that in reality when you do that 1 millivolt gets comes across this and that's why it's showing 10 So we need to add something in series to convert it into a volt meter But now comes that question. What should I add something? What should I add over here? And how should I think about it? Like, you know, what should I measure about that material that I'm adding? So it's an open question.  What should I add and what measurement should I be worried about over here? All right, here's I'm thinking since I want the voltage the 10 volts to split up So some voltage comes here and the rest of the voltage gets dropped over here and since these are in series Current is the same. So the voltage that they get really depends only on the resistance So I really only care about the resistance of that material So I might as well just add some resistance over here So now our question changes and our question now becomes the final question that we have about design is what Resistance we should add in series with this such that When I apply 10 volts across it 10 minus 1 millivolt comes across this resistor and you need to add a very specific resistance because think about it if you add a very low resistance Then a very low voltage gets dropped across this and rest of the voltage will drop across this and this galvanometer will blow up You don't want that you also don't want very high resistance if you put a billion ohms Let's say then all the voltage will get dropped across this nothing will get dropped and your galvanometer will not read anything So that's also bad So we need to add a very specific resistance so that the voltage gets divide divided precisely like this as a now This is a more fundamental electricity question. How do I calculate? What resistance should I put over here? Then I'll give you a clue ohms law Can you think about the situation from ohms law perspective and figure out how to calculate the value of R? Go ahead. Give it a try pause the video and give this a shot Alright, so here's I'm thinking I already know the voltage across this resistor is supposed to be this much and I also know the current that's supposed to be When the voltage is this much the current has to be 10 microamperes Right, that's the current that's flowing through the galvanometer. It's showing 10. It's really 10 microamperes, right? And so I know both voltage and current I can find the resistance. So the required resistance is voltage that is 10 volt minus one millivolt divided by the current which is This much 10 microamperes. That's the current and if I substitute I get my answer And that would be the resistance to be attached over here and if I do a quick calculation I can Neglect this one millivolt in the numerator because it's very small compared to the 10 volts and if you divide this by this Then the 10 cancels you get one divided by a micro and that's about 10 to the power 6, right? That's about a million. So you will have to add a million ohms of resistance in series with this and this immediately tells you that Voltmeters tend to have very high resistances as you can see because you want a lot of voltage to get dropped across that series Resistance, but anyways conceptually we now understand that a high resistance has to be added in Series with the galvanometer and once we do that Then we can just package it like this so that your friend doesn't see what we did and we can tell your friend that We did a lot of work, you know took a lot of time and effort and then we'll get paid our 300 rupees and we would have made a profit because the resistors only cost what 10 or 20 rupees Wonderful, isn't it because as far as she's concerned, this is a voltmeter If you had to put I don't know maybe say two volts across this or let's say one volt across this 10 times smaller Then automatically this would be 10 times smaller This would be 10 times smaller the current would be 10 times smaller because the resistance and change The current would be 10 times smaller the deflection would be 10 times smaller and it would show one volt So you see this is as far as she's concerned a volt meter that can measure up to 10 volts Finally if you are wondering what should be in general What is the general expression for the resistance that needs to be added to convert a galvanometer into a voltmeter? We can just look at this and figure out see 10 volt was the voltage up to which we were extending So this is the voltage to which you need to extend your galvanometers range true Minus 1 millivolt was the voltage that your galvanometer Maximum voltage that your galvanometer could measure for full-scale deflection That is the maximum current that your galvanometer can different, you know Measure IG will call it G for galvanometer times the resistance of the galvanometer So this is the maximum voltage your galvanometer can handle Divided by the current maximum current that your galvanometer can handle So this you can think of it as a general expression of the resistance that needs to be added in series But I highly highly encourage you not to remember this formula In fact, I wouldn't get rid of this formula and the reason for that is There are a lot of formulae in physics and you know, you can't remember all of them very easy to you know Get confused and go wrong. So whenever numericals are asked. Yes formula would be easy faster to do it But this is a more conceptual way to do it. I don't remember the formula seriously I will always try to do it this way and Also, if the questions are very twisted if you get a different question Say they will give you an ammeter and ask you to convert into a voltmeter, right? It suddenly looks like a different question now But the concept stays the same and so if you understand the concept you can solve any numerical All right, so to quickly summarize. How would we how did we do this? We first thought of our galvanometer as a tiny voltmeter We figured out what is the maximum voltage it could measure 1 millivolt and then we said, okay Now we need to extend its voltage to 10 volts Then we said look that means when 10 volts comes across this Only 1 millivolt should come across this our galvanometer And so the rest of the voltage would come across some resistor And so that's why we added a resistor in series and then we figured out what that resistance should be using Ohm's law So to convert a galvanometer into a voltmeter add an appropriate resistance in series