LIFE'S TRAGEDY by Paul Lawrence Dunbar, read for LibriVox.org by Alana Jordan, St. Louis, Missouri. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This it is to be accursed indeed, for if we mortals love or if we sing, we counter joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. LIFE'S TRAGEDY by Paul Lawrence Dunbar, read for LibriVox.org by Alex Eating. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This is to be accursed indeed, for if we mortals love or if we sing, we counter joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. LIFE'S TRAGEDY by Paul Lawrence Dunbar, read for LibriVox.org by Bob Sherman. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. LIFE'S TRAGEDY by Paul Lawrence Dunbar, read for LibriVox.org by Bologna Times. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. LIFE'S TRAGEDY by Paul Lawrence Dunbar, read for LibriVox.org by Donald Finch, dafinch.com. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Ernst Patinama. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Eric Hale. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Greg Bowman. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Gemma Blythe. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Joy Chan. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Jim Fish on the Texas frontier, June the 27th, 2009. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what keeps us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Kent V.P. Ferguson. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect song, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Christine. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Christine Hughes. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to singing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Leanne Howlett. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Leanne Coulson. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Lucy Perry. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half-tone lost the key. There is the potent sorrow, there is the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what keep us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Mike Vendetti. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half note lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lies aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Mary Mester Goldman. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by P. D. Ratt. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is a potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what keeps us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by P. D. Ratt. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Ruth Golding. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Raven Notation. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Secrets. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad staring of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside its vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Sarah Smith. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper grief than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad starting of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what keeps us from the perfect thing. End of poem, this recording is in the public domain. Life's tragedy by Paul Lawrence Dunbar, read for LibriVox.org by Samantha Genwangs. It may be misery not to sing at all, and to go silent through the brimming day. It may be sorrow never to be loved, but deeper griefs than these beset the way. To have come near to sing the perfect song, and only by a half tone lost the key. There is the potent sorrow, there the grief, the pale sad starting of life's tragedy. To have just missed the perfect love, not the hot passion of intempered youth, but that which lays aside vanity, and gives thee for thy trusting worship truth. This this it is to be accursed indeed, for if we mortals love or if we sing, we count our joys not by the things we have, but by what kept us from the perfect thing. End of poem,


Also, sorry guys. I forgot to also randomize left or right. So we use the same dice roller six times six times left right one two three four five six Stays with the left like pretty much every roll Six times left side winning that right there. So there you go now. Appreciate you guys Jaspis case breaks calm


Billion of us as a population of the country, and it's the people who make a place. The human experience of emotions that, you know, that actually becomes a real past that we all belong to. Our actions and our chosen destinies are based on emotions and nothing else. And that is what offers a more precise insight into what history really means. Photographs are one kind of memory and they're also actually history. Photographs from family archives are taken for personal reasons only, but they hold incredible, incredible historical information. They have secrets, secrets that you would never have thought these images can have. And they form the missing link to a country's emotional history. These pictures you see are actually my aunts and my mother who sits in the bottom centre. The photographs offer some information. They offer information on women of the time, region, religion, education, photo technique. I can also tell you their names and their dates and this place where this image was taken. It was incidentally taken by one photographer over this entire decade. And but other than that, if you don't have a context to what these images have to tell you, it has nothing more to say. It has nothing more to offer except that these are pictures of their youths. Narratives are a context that can change a meaning of an image. Shalini Gupta, Anupa and Athenial, this was a picture taken in 1962 in New Delhi. They were 15-year-old at this time. And at first sight, this is a photograph of two North Indian teenager girls in the 1960s from New Delhi. What you don't know that these two girls were the first girl rock band of India. Anupa on the right was a lead guitarist and singer. They were so popular and they played rock and roll. So when the Beatles actually came to India in 1966, they had these private ceremonies that no one knew about. And they were given front-row seats as priority. Manjari Kendi, Ramchandran. The first thing I noticed when I was shown this picture was his eight-pack. I actually counted each one. And please don't miss his leopard wristbands. Manjari Kendi is 16 years old in this picture. This is just before he sailed for Tanzania. He's from Kerala. Five years later, he came back and won the all-India heavyweight wrestling and weightlifting championships, including the one in Sri Lanka. And his physical strength was applauded everywhere he went, so much so that he was the one called to handle dangerous African robbers. He has so much passion for physical strength and building bodies that he started building gyms. And he built a chain of gyms in Tanzania and in Kerala. And this is one of my most favorite images because this has me in awe every time I read it. Chameli Devi and Phool Chan Jen. In the 1920s, Indian couples from conservative families did not hold hands. Not in public, not for a photograph. No, it was not done. But they did. And I think it's a sign of their unconventional lives to come. Chameli, you see, is actually a 16-year-old girl in this photograph. Her husband is 18 years old, Phool Chan. Phool Chan was a member of the Hindustan Socialist Republican Association. In 1932, Phool Chan was involved in an assassination attempt of Lord Lothian. He escaped but he was identified. He went home, he told his wife he could go to jail. And instead, Chameli announced that this time she would go to jail because she wanted to participate in the Satya Graha movement. And everyone was stunned because no woman from a Jen family had dared to even think of such a thing. You don't know anything of jail he screamed. And Phool Chan said, Who's going to take her the children? And immediately she turned back and she said, You will. She and Phool Chan were then both locked up in a room by his very startled mother who could see her family sort of dissipating into jail. But they, exactly like movies, they tied sheets and they escaped through the window. And Chameli with her head uncovered marched into the bazaar with other women picking foreign goods, shops with sold foreign goods. Sure enough they were arrested, taken to Delhi jail, charged with four and a half months of rigorous imprisonment in Lahore. The first Jen woman to ever go to jail, she returned to Delhi a minor heroine. But life returned to normal domesticity. But now her world is somehow, I think widened because she now wore only hands-pun clothes. She used to also hands-pun them herself. Her goongat, her veil, which was a few inches higher and she organized meetings like Widow Remarriage. And for that she has an award named after her. Then there are lives which reveal themselves at very unexpected times. And in this particular case, three centuries later and because of this project. These two images you see were sent to me by Jason Scott from United Kingdom. And the photograph on the left is of Jason's great-great-grandparents taken at their bungalow in Bangalore. On the right you see are his great-grandparents and that child you see is Jason's grandfather. But I want to let you know what happened because of this image. Jason's image opened up an unexpected dimension for this project. He sent an image, wrote a narrative about it, mentioned an ancestor called James Scott's Savory from the 18th century who's not even there in the image. The name, however, is now a search term on the internet and was found by two different people at two different times. One gentleman in the US, one in Australia who emailed to say that they too were descendants of James Scott's Savory. So almost six generations later, three continents apart and with the little help of Google, Mr. Scott's Savory's descendants are in touch. Their lives have no doubt changed. Indian Memory Project is not an archive of just another images of catalogue numbers and everything. It reconstructs the visual history or it is attempting to do so. Which is so rich that you will find it too surprising to even believe. And no matter what you and I do or somebody else does or how short or long our lives are, each one of us plays a central role in the history of the world. Thank you.


Hello, everyone. Thank you very much for coming to this talk. We're going to attempt to crack this safe in the next 45 minutes. We could have made the safe cracker faster, but then how would we get a 45 minute time slot? So we're going to do the best we can.  As you can see, it's kind of a big setup, but we're going to go through the technical aspects of how we built it. I am Nathan. This is Joel and that's Rob. So a little background. If you may know a company called Sparkfun Electronics. About 15 years ago in 2002, I started Sparkfun Electronics in a little room. Hopefully you can see it. This was student housing. There was like 15 of us in this house.  Here we are today. Pretty advanced website. We have about 2,000 products that we sell. About 500 of those are open source hardware. So today, what Sparkfun does is we design little development boards and technology and then we build projects using that technology to demonstrate it and inspire other folks. So this is an example of a LiDAR with an Arduino shield and a couple of segment displays. And you can see if you have distant... No slides. I'm going to do an interpretive dance for all the slides. So I don't know if you can hear that noise, but I still have nightmares with that noise. We've been working on this a lot. But I'll wave my hands. So what the robot is doing, as you can see, if you can see, there's a dial on the front and there's a servo pulling on the handle. So while we set up here, we attached the robot using magnets. So the idea is that there's no glue, there's no drilling, there's nothing to make it so that you would, if we did it right, okay, we got slides. I don't know if we're going to have this video feed up, but hopefully they'll work on that. In the meantime, I'm going to stream through this thing. So I'm Nathan, that's Joel, that's Rob. This is what Sparkfun looked like 15 years ago, student housing, 15 people in this house. This is what our website looks like. Cool. This is, we build technology. This is a LiDAR with a couple of segment displays and you have distance out to about 40 feet, right? And so if you take multiple measurements per second, then you can turn that into speed. So this is a speed trap. You run at the wall and see how fast you can get that number up to. And in the lower right hand corner, you can see the hand print. We're lucky no one's cracked the drywall yet. This is another thing I built a speedbag detector. So you hit the speedbag and vibrations from the platform using an accelerometer. You can count the number of speedbag hits. That helped me train for an amateur boxing match. I am undefeated one in zero amateur boxer. Beehive we hacked. So we took a bathroom scale, hacked it, attached it to wifi and you can see the weight of the beehive change over time. It's actually sawtooth. Because every morning, five pounds of bees leave the hive and they come back during the day and then they leave again. Kind of interesting. Power wheels. My wife and I, this is my beautiful wife, like to hack things. So we hack the power wheels up to about 48 volts. Bunch of sensors, laser distance sensors. It's an autonomous power wheels that does about 18 miles an hour. This is all to say, I am a hardware geek. I don't know software. My wife had to explain this cartoon to me. I'm sorry. Then she asked me for a sandwich. Okay. You're all here today to figure out how to make these look like this. Now the story behind this thing is, I'm really into puzzles and my wife found a safe on Craigslist for $20. It was so cheap because the owner of that safe did not have the combination. They had lost it. You can hire a locksmith to open it up for you. But the owner was just like, forget it. I'm just going to kick it to Craigslist and my wife bought it. Give it to me for Christmas. And I said, hey, we got to build a robot to open this thing up. And we're doing good. All right. And then we built it.  The dumbest thing I've done in my life is demo Defcon. So we opened this safe in 41 minutes. Okay. Now, this safe is really cool, but I'm going to give you a little animation about how safe combination locks work. Little background. There we go. Okay. There is three discs. The A disc, the B disc, and the C disc. Lovely. All right. So the C disc is that blue one that's got the notches in it. The green disc is disc B, disc A. Now the first thing you need to know is that disc C is directly attached to the dial. So when you twist that dial, you're only turning disc C. Now, after a while, disc C has these dots on it. And those dots will interfere with the dots on disc B. And so that's how you turn disc B. Continuing to turn, you turn disc A.  I have to go back. It's going to be important later on. Starting in the top left-hand corner, this thing runs on an Arduino. It's not a Raspberry Pi. It's not some heavy lifting single board computer. It's just an 8-bit microcontroller, which means we can make this thing portable. Next up, we've got three magnets that help it stick to the safe. Power supply. That is just an AT power supply, common 12 volts, 5 volts. You find it really often with external hard drives. Really cheap. It provides us a couple amps on the 12 volt and 5 volt rails. Next is the erector set from a company called Actobotix. That makes it really handy so we can reconfigure the robot as we need it. For instance, if you have the dial in different place or the handle in different place, you can rejigger it real quickly to make those two things fit. The motor has 8,400 ticks. What that means is it's a DC motor that spins really fast. But on the back end of it, it's got an encoder. So it's a magnet that passes a Hall Effect Sensor. That motor turns at, like, I don't know, 10,000 RPM. On the front of that, there's a gear head that gears it down to a single rotation. So 8,400 turns of the magnet equal one rotation of the head. So we take a 100-digit dial and we split it into 8,400 individual segments. Okay? So that's the motor. Next we have a servo with feedback. So that's the servo that pulls on the handle and tells us when the handle is pulled down. And let's see. Next step of building this thing is we had to 3D model the servo safe. From that, we were able to print a 3D print a coupler. So that coupler fits onto the dial really nicely and tightly. You can see the little flag sticking off of it. We use that in a photo gate. So there's a photo gate attached to the Arduino that looks for that flag and sees when it breaks the beam. When it breaks the beam, it knows that it is, well, it knows the flag is there. And then it asks the human, hey, what number am I at? The human types in 62 and says, okay, I know where 62 is. It can immediately go to zero. So it's a way that we kind of calibrate and home the dial. This is what the handle puller looks like.  We have a servo with this cool nautilus gear. That allows us to maintain constant torque while we're pulling on the handle. And then we have some very fancy string that you can get from anywhere that attached the servo head. And again, we've got analog feedback on that servo. The way that you do that is you take any off the shelf servo, you open it up and there's a potentiometer in there. You solder to the center point of that potentiometer and you can see, you get an analog voltage that is in relation to where the head is. So now we can say, okay, the head is at 45 degrees or it's at 90 degrees and from that we can tell when the handle is open. This is what the electronics look like. Top left corner, motor driver. It's a 15 amp motor driver because this motor pulls a couple amps so it's overrated but that's good because we don't want it to get hot. Underneath we've got an Arduino. It's just a red board. That's the board that Sparkphone makes. We've got a buzzer, piezo buzzer so that it can beep and let us know whenever the safe is open. We initially designed a current sensor into the board thinking that we would look at how much current this motor was using to tell when it started to stall. We found out that it's actually a lot faster to see the encoder stop. So when we tell the motor to do something, if we ever see the encoder ever stop turning, it's about 100 milliseconds before we see the current increase. So we don't actually use the current sensor, we just look at the encoder. Next is that 12 volt external hard drive power supply. Next we have the motor control and feedback. So motors are pretty simple, right? You give 4 in 1 direction and the motor starts turning. In this case it's got a couple more pins because it's giving us feedback that gives us access to that encoder. So we can read the encoder, we can power the motor, we can switch directions on the motor so that we can turn the dial in different directions. Next up we've got a display and I'm just going to check it out real quick. Currently we're testing 18 1693. So that's a display, 7th segment display with a bunch of segments. The display is three wire. So it's serial, just going to the display. Next is that home photo gate. So it's a really simple photo interrupter. You power it and whenever it breaks the beam you can see that pin go low. So we tell the head to turn until we see that beam broken and we know that the flag is there. Next up we have a go button. So we wanted to make this thing as autonomous as possible. You'll see a red button on the robot. So we enter it, we can hit the red button and it starts doing its thing. Next up is the servo and feedback. Again that's where we attach the servo to find out where the handle is at. Now we had to connect all these things together. So this is pretty simple schematic, right? There's not a lot going on. It's just a whole series of connectors and making sure that the servo and the buttons and everything are connected to the right spot on the Arduino. We could have done this but it's not going to make it very portable and not very reliable. So this is the schematic. You can see in the bottom center is that gear logo. I don't know how many people are familiar with open source hardware. This is, yeah, yeah, awesome. The open source hardware association. This, you can take this design, you can modify it, you can copy it, you can sell it, you can do whatever the heck you want with it. And that's the same for all SparkFun products. We believe that everything should be open source hardware. If you can learn from me then I can learn from you and we can build upon each other's work. So this is all open source, this is the schematic. And then we turn it into a printed circuit board. So this is a really simple printed circuit board. It's two-sided but the traces are huge and it's all through whole soldering and it's really pretty straightforward. So that's the PCB. Now let's talk a little bit about the keys and how we will hopefully get this thing open quickly. There is about two combinations on a given safe. And the reason that is is you've got to dial 0 to 99, so it's 100 times 100 times 100, that's a million. If a human walks up to a safe, you think about it, you've got to clear the dial, right? And then you've got to dial in the first one, you've got to dial in the second one, you've got to do that. So worst case, if we were to brute force this, it would take 115 days of nonstop trying every 10 seconds. So the first exploit we came about was how we could reduce the overall keyset. And I don't know if you've noticed but we are only testing 93 over and over and over again. Why is that? That's because oh, let me take one step back. So 100 times 100, we can actually reduce that a little bit. They design the safes so that if the digit is say 56, humans are really bad at doing fine stuff. So it's hard to get 56 just right. So they design the safes at 57 and 55 will work. So it's a three-digit window, so we're not actually trying 100, we just have to hit that middle digit. So we're doing 333 times 333 times 333. It's still four days. It's mind numbingly slow. So this is what the inside of the safe looks like. There are three dials and the two white ones and the black one. If you see that black one, it's got a bunch of indents on it. And that's what we call those little indentations. And those are there at the bottom. Yeah. So there are 11 small indents and then there's one large indent and that's the solution slot. So we know that one of those 12 indents has to be the solution slot. So we don't need to try all 33 digits on the last disk. We only need to try 12 on disk C. That's the black disk. So now we've reduced the solution set 33 times 33 times 12, still at one and a half days. So when the kicker came when I took apart the safe and found out that the solution indent on this older model safe is slightly different in size. So that small indent is about 10 thousandths of an inch smaller than the other 11 shallow indents. So from the outside of the safe, if we have a sensitive enough motor, we can measure those indents and find the skinniest indent. So if we can do that, then we can take disk C down to one. We have the solution number within about 20 seconds. So if disk C has the skinny indent, we take 33 times 33 times 1, we're now down to about three hour test time. So the first thing I want to show you, well, no, I got to show you all sorts of stuff, but this is the model safe that we had back in Boulder that we got on Craigslist. And it's really cool and that's the one we cracked open, worked well. The problem is that we wanted to do this demo at DEF CON. This safe is about 10 years old. You can no longer get this model safe. Awesome. So we looked around and said, well, what is the model of safe we can buy at... What's that? We're good. Okay. What's the model safe that we can buy here in Vegas? We bought this safe at Home Depot. This is the model you can get readily in Vegas. Now, something should jump out at you about this picture. What is it? There's keys. Where the hell did those come from? Those weren't on the original model safe. So when we found... We saw the model safe in Vegas, we're like, okay, cool, let's get the same model in Boulder. I buy this same model in Boulder where we're from and I take it up to Rob's office and I'm like, hey, we got the safe and I'm like, oh my God, what is... There's keys now? This isn't going to work. I know the DEF CON audience is really understanding about demos, but we can't just show up with a robot that doesn't work. How are we going to open this lock? Well, anybody who knows tubular locks, right? This is the first time in my life where I used a big pen to open a lock. It works really well. It's incredible. So sure enough if you find this safe and you need to get it open, build one of these robots and bring a big pen with you. That's all you need. So inside this safe, again, we've never opened this safe. We bought it yesterday. God, I hope we get it open. But this is what the inside of our safe, same model, in Boulder looks like. Same 12 indents, all plastic. Now the interesting thing about this disc C is that the solution slot is actually 50,000 of an inch larger than all the other indents. That may not sound like a lot but that's 54 ticks on the encoder. That's a huge gaping. It's such a sore thumb, it sticks out at you. So this is what it looks like. How we measure the indents. So the robot will spin the discs to an indent and then it'll apply pressure on the handle and rock the wheel back and forth. Now remember the encoder is giving us feedback. So we can say, okay, the encoder is at 17 and then it went to 312. And then we do the subtraction and we say, okay, that indent is this many ticks wide. And we do that for each indent. And I think yep. We'll eventually do the solution slot. Measures that. Got it? Okay. That's how you measure the indents. Now we're not trying anything yet but we are establishing what those indent widths are. This is what the output from the terminal looks like. Nothing may jump out at you except for that. The width of that indent is like a sore thumb. It's much bigger than any of the other indents. So our software says, okay, cool. The largest indent number is 6. That is the number I'm going to try for all the other combinations. So in this case we think the indent is 93. We're really, really hoping the solution works. We're going to see if it works or not. We're pretty sure. So we know we have the solution to disc C. It's 33 times 33. It still takes about three hours. So how are we going to do this in under 45 minutes? There's some other things we can do. How can we get the test time down from 10 seconds to something shorter? This is something we created called set testing. So we've got the test per test. We can even go a little bit faster than that. But let me demonstrate what set testing is because it's a little complicated. Well, it's not complicated. It's hard to describe. So this, I'm going to play this animation again, but disc C is the blue disc. Disc B is the green disc. Now we have those interference points, right? To test as quickly as possible I shouldn't reset all the discs. I'm a robot. I know exactly where the discs are. So I shouldn't have to reset B. I tested C and now I'm going to turn C until it interferes with B. B will move three digits and then C returns to where it needs to be and we test again. So we do this. We turn B we bring it back. We turn B we bring it back. And I want to show you the next video of that in practice. Set testing measurement. Okay. So this is the robot set testing. So we test. We move the disc. We test. We move the disc. We test and you can see that slot opens up a little bit and keeps going and we go right through it. Now realize that this is just a quick little video but we're testing a large number of combinations in the 10 seconds it takes to watch this video. We're screaming through combinations quickly so we can. Okay. So if we can get to the set time test time per combination down to about four seconds, how are we going to get it down to 45 minutes? We can. It's all luck. Right? It's to the demo gods at DEF CON to try to get this thing open in 45 minutes. It's not an exploit. It's just luck. So you may ask yourself, okay, how can we improve upon this technology? How do I protect myself? Well, there's a couple of things. If you don't like combination locks, get one with a keypad. Right? The one in the middle is a keypad. My robot does not work on keypads. However, before you buy the model of safe in the middle, I suggest you search for it on the Internet because that safe can be opened faster than we can open this one. You take a high power magnet. You take it on the outside and there's a solenoid that when you type in the keypad, that solenoid pulls the pin and you can open the safe. Well, you can activate the solenoid using that magnet from the outside and you can open the safe in a couple seconds. Do your research. Well, Nathan, I could just spend more money on a safe. Yes, you could. There's lots of very good secure safes out there for, you know, $1,000. You can get a safe that doesn't have plastic internals. Right? This safe is the most common model at Home Depot Lowes, all the other places. So this is the one we wanted to exploit and this is probably the one that everyone has. However, if you spend a whole bunch of money, you can get a jeweler safe, you can also get the SG6730. The interesting thing about this is that the only people that buy this are locksmiths because they're the only ones that can actually dial in the single digit combination. Remember, our safe has that plus or minus one digit, so if you dial in 56 and it's supposed to be 55, it's still going to work, this lock, you have to be dead on and it's so safe that users can't open their own safe. And there's always somebody around with a thermal lance.  So a few things about future research. We found out that there's two aspects, two motors on our robot. One is the motor that spins the dial, the other one pulls on the handle. We have a very sensitive motor that turns the dial. We can also get a very sensitive servo that pulls on the handle. Giving us feedback about how far down that handle has been pulled. Let's see. Based on the depth at which the handle is going, we ought to be able to glean some information about the disks inside the safe. I don't know if we can or not, but we can get depth feedback from the servo. Something to look into. Another one, this is my friend TJ. This is an idea called impulse response. We ought to be able to slam the arm into the disks and listen to what it sounds like. If there's three pieces of plastic there, we should hear one sound. Humans probably won't be able to detect this, but a computer could look at and do the analysis and say, ah, there's three pieces of plastic there. Or in this case, you can barely see that there's one slot lined up. So whenever we slam into it, there's only two pieces of plastic. We should have a different impulse response. If we can make this happen, then I won't have to stand next to a safe that isn't open. We should be able to open it up a lot faster. Next, we have a 3D printed coupler that works with this dial. So if you want to hack into a safe, you have to get measurements of that safe, measurements of that dial, or on a safe similar to it. In this case, there are really interesting grabbers. This is from iRobot, and it's basically a balloon filled full of coffee grounds.  So you can grip all sorts of different objects in different shapes, a few shown here. We may be able to create a coupler that you shove onto the disk, you evacuate the air, and then you have a very tight grip on whatever dial, any size or shape dial you've got. Another thing, the next safe that we would like to work on is the keypad safe. So these are the ones you often find in the hotel room, or the one I suggested before, there are combination to the safe. Okay, I'm done now. Lastly, we ought to be able to see the tactile feedback of buttons. So using a load cell on a pen, we ought to be able to press the button and see where the tactile force fails, and from that, you can see which buttons have been worn out. In theory, this is future research. Not sure if we can, but we've done a lot with load cells, and this is a common testing method for tactile feedback of buttons. It might work. Yeah, and then once you have the number of buttons figured out, it's just infectorial. This is all really boring compared to that. So yeah, I'm, that's all I got.


is a business what we've managed to do is we've kind of managed to cater to that gap that was there in the market which or at least we're attempting to cater to that gap in the market which is for products and specifically snacks that are actually authentically healthy and also really tasty at the same time and this sort of came from you know a personal problem in my own journey to find products that were extremely tasty and extremely healthy at the same time and I think thankfully there are a lot of people like us who kind of had the same problem and I think because we've been able to address that you know market gap concern you know that consumer pain point I believe is a reason that you know that we're growing as a business well I think it starts with catering a problem or addressing an issue or a concern or a pain point of the consumer and I think if you're extremely passionate about addressing that concern and if you're extremely passionate about addressing you know a market which pretty much exists out there but is not really being added value to the extent that it should you know I think that's kind of that is really you know a business for today and for tomorrow and I think more importantly if you can create a brand that can connect with the consumer that that the consumer can relate to and you can speak to them in a language they understand and you have the products to back that I think that's sort of should ideally be a win-win for both the business and the consumers I think just keep at it because there will be so many of these instances when you would want to give up on actually not want to give up but there will be setbacks essentially but I think if you just keep at it with complete conviction and persistence I see no reason why why you won't get there


Now that we have imported our first static mesh into our game this step is going to be all about what we need to do to make changes to that mesh such as putting materials on it and we'll have a look at the static mesh editor as we do that. So you can see I've still got my content draw open from the end of the last step so what I will now do is just double click on this mesh here and it opens this window which is known as the static mesh editor and you can see we've got a viewport here which allows me to look around the asset you can see at the moment there's no material on it so it shows us this kind of gray checkerboard little pattern thing going on which is good. We have a tab here which can be quite useful we'll get to that later we've got a menu bar across the top we've got a toolbar just here and then we've got a details panel here which is really useful for changing the details and we'll start by looking at the materials that's the first detail we're going to look at and because of the way that I've set these assets up to make it sort of a nice gentle learning curve we've got two material slots here and that means we can apply two different materials and you can see I've just named the material two a material one for some reason they go in reverse order to what I did them but I'm not upset about it it's fine and then we're just going to use this to put some materials on so what I'll do first of all is work out which material is which by clicking on the highlight button here so you can see this is just these strips here which are like the accents and so in this case I know that I want them to have this blue color so what I'll do is click on why it says world grid material which is the material that's currently assigned and then we've got a whole list of materials that are available in the start content that we added when we created the project and we're just going to use the material here m underscore basic floor and that's going to add a bit of a pale blue to these two strips and then if I highlight the other bit you can see that's just the rest of this mesh and I want this one to have m asset platform and again if you're wondering about their naming convention m denotes that it's a material so that now saves this asset with materials on it's looking pretty nifty the only other thing I want to show you while we're in here is that because we import it in a way that would generate collisions we can now see what those collisions are so where it says show up here we can click on that and then simple collision is always the one you want so if we tick on that we can then see what the collision looks like and it's a very very simple mesh that just sits around our actual mesh that will handle whether or not we should be able to fall through it or whatever so that's good we can turn that off by just unchecking that box and then the final thing we need to do to get this ready is save the asset so you can see up here we've got an asterisk that means it's unsaved which isn't necessarily the end of the world but if Unreal Engine was to crash before we'd save this and we'd already put it into our level and done things with it when we reopen it it's all kind of gone so it's a good idea to save these often and early so we'll click on the little save icon here there we go and then we can close the static mesh editor and then if we just bring this back the asterisk's gone from here as well and we can see the asset is there one of the thing that you might want to do just before we close out this step is I've already increased the size of my thumbnail so if we click on the settings here go to thumbnail size I think it starts at medium that's probably what size yours is that if you want to make them a bit easier to see you can go into your thumbnail size and do large or huge like huge is actually quite useful I'm probably going to leave it on huge so it's easier for you guys to see what we're looking at and that'll do it for this step so we've imported our asset and then we've added materials had a look at the static mesh editor and now we're ready to put it into our level so I'll see you in the next step where we will do just that thanks so much for joining me I hope you found this tutorial helpful and enjoyable if you're eager to dive deeper into game development with Unreal Engine 5 I have a fantastic recommendation for you I highly recommend checking out the course Unreal Engine 5 the complete beginners course by David Nixon on Udemy it's a comprehensive and beginner friendly course that covers all the essential aspects of working with Unreal Engine 5 I personally found it to be an excellent resource and I'm sure you'll benefit from it too check it out by following my link in the description below once again thanks for watching and supporting the channel if you'd like to help me create more content like this please consider becoming a patron on Patreon the contributions I get through Patreon make a huge difference in keeping this channel going remember to like comment and subscribe to make sure you don't miss my upcoming tutorials your support and engagement mean the world to me and help my channel continue to grow thanks again and I'll see you in the next one


So the next one is an idea called compassion right and this is kind of coming from a heart center right it's it's feeling it's being connected to your heart so that you can feel other people in the world and yourself that and everything that's around you and a woman that comes from compassion a world you know comes from a space of being compassionate is is so incredibly attractive and and a lot of people don't really get this idea and and some people get it kind of conceptually I had a client one time and we used to talk about this idea because we I can't remember exactly what the situation was that she was in but she was in some kind of situation and I was talking to her about being compassionate for the guy that she's with because she wasn't being compassionate at all and I was talking about what being compassionate looks like right it's it's getting into what's going on with him and seeing what's going on with him and and putting yourself into his shoes and and getting him and being on his side and and not being stuck in your own pain in your own sadness in your own anger right we all have those things we all experience those things but getting stuck in those things is what prevents you from really being compassionate because it makes it so that you're so kind of filled up with your own anger and your own pain and your own kind of judgments about what's going on in the world that you're unable to experience other people fully and so if you're not able to do that what you want to go do is do some healing work and heal some of those past wounds that you have so that you can come into a space of compassion and you can really be on a man's side and you can you know be filled with love and innocence and softness when you're around a man because that is one of the most beautiful and amazing things and attractive things that a man can possibly experience in his life because most of the people for most men most of the people that he meets in his life are people that have no compassion and they're stuck in their own anger and their own selfishness and their own kind of issues and problems and they're just waiting for their own turn to speak and they're just you know doing all that kind of stuff most people are in that kind of a space and so when you come from a space of compassion and you can really feel him and you can feel yourself and you can connect with him and you can show him that you're on his side that can be an incredibly powerful thing that that makes him feel loved and cared for in a way that he may not feel with anybody else that's in his life