But I think what I liked about it was this, you know, I'd flip through magazines and it was like the Overall image was something I was interested in not the clothing or the model or the setup or anything It was like this entire world, you know, I was really interested in that So, you know, I went to three different colleges and offer fashion. No, I quickly learned I didn't like fashion as much as what didn't you like about it. It just wasn't for me I'm not that invested in it. It's not something that, you know, like gets my heart rate going I like it, you know, but it's not something I wanted to pursue as a career and Then I thought I wanted to be like a filmmaker for fashion in some way, but again, like art direction was not a degree


Hello and welcome to this supercharged TLDW. Last week, Summer and I built a 3D card flip. Let me show you what we got to building. So you can see I've got this card on screen. And when I click on it, it flips over in 3D. And there are shadows and all sorts of things underneath as well to make it look just right. Now the other thing I've done is I've taken a timeline recording. And you can see that it's hitting a comfy 60 frames a second. And it probably would, well, it is doing the same on most mobile devices as well. So with that said, let me show you actually how we got to building it. And of course, that requires a trip to the most famous corner of them all, Theory Corner. Hello, my theoretical chums. Welcome to Theory Corner. So let's do a little bit of 3D theory. Not loads. Don't worry about it. It's not that bad. So imagine we have our axes, x, y, and z, or z, depending on what you prefer. And imagine our screen is kind of at the front here. And so is the card. Now what we need to do is we need to push the card back into z-space so that it's got space to kind of come forward and flip over and go back again. So we push it back in z-space. Now the way we do that is we put perspective on the containing element. And the perspective value is always in pixels, according to the spectrum, mostly is anyway. And so we push this card back, saved by 200 pixels or something. And when we do that, we find that the card gets smaller as it does in real life. The further things are away from us, the smaller they appear. So that's fair enough. But we don't want the card to appear small necessarily. We just want it to start at its actual size, but be 200 pixels away from us. So what we do is we look at the spec and it says, well, in order to figure out how much something has been scaled down, you take the perspective value and you divide it by perspective minus the distance that you've moved your thing. So let's say we've got a perspective value of 500 pixels to figure out what we need to do for the scaling of this card. We say 500 over 500 minus 200 because we moved it minus 200 pixels in Z. That tells us that we've got to scale down. It's scaled down by 0.71. Well, we want to scale it up. So we have to do one over that value. So we can scale it by 1 over 0.71, which works out at a very convenient 1.4. So now our card is scaled up. What we can do is we can set up an animation to bring it forward, flip it over, and push it back again. So that's just the 3D card flip. We'll talk about the shadows and so on when we get to the code. In fact, talking of code, let's go and look at some. Welcome back to the codey bit. Now, what we'll do is we'll have a look at some of this code. In fact, let's look at the HTML first. We have an SC card. It's a custom element. We normally do this. It's just for convenience because it's actually quite handy to do that. You don't have to do that. It would work just fine if you had divs and so on. And for now, we can ignore the attributes that we've added on here. The main thing is we've got this front and we've got this back. And in fact, if we look at the styles for this front and back, mostly it's just going to be absolutely positioned and so on because we want the front and the back to appear over the top of each other. But the super interesting bit, I think, is the back face visibility set to hidden. We do this because we want to make sure that even if these cards, the two halves of the card, are placed over the top of each other, if one's got its back to us, we don't see it anymore. And that's actually a really important thing here. We need to make sure that the only the side that is facing towards us as the camera is the one that's actually visible.  Now, when it comes to the JavaScript, most of the time, most of this code is fairly sort of boilerplate, I suppose, except for this actual flip function, which is sort of the meat of what we actually get into. So let's have a look at that. Now, what we're doing is we're setting up, first of all, we're setting up this scale, which we talked about over here in Theory Corner. We need to know how much our card needs to be scaled up by. Now, I've hard coded these values. A more generalized version, you take the actual dimensions yourself and you'd figure out exactly what you need to do. I'm not going to do that in this particular situation, but you can do that. Because what we said over there, it's actually, I've inverted it. So rather than it being 500 over 500 plus 200, I've actually done 500 plus 200 over 500. That's going to give us the 1.4 value here. Okay, with the scaling done, let's talk about side one and side two. Now, the card could be with its back facing to us or its front facing to us, so we just call it side one and side two, and we just choose whichever one of these is gonna make sense depending on whether the card's facing us on one side or the other. Side one, side two, they're pretty much the same thing. They're an array of keyframes and each keyframe is an object. And in this case, we have the transform. So let's step through what we do for side one. Basically, what we're saying here is we're gonna push it back 200 pixels like we discussed. We're gonna set its rotation to zero degrees and we're gonna scale it up so that it looks at the correct size. Then we bring the card forward by 100 pixels and we leave the rotation where it is and the scale where it is as well. Next keyframe, we're gonna be still at minus 100, but this time we're gonna rotate the card across the X or the Y axis, depending on which one we want to use, by 180 degrees. And then finally, we're gonna push the card back to minus 200 pixels in Z space or Z space. Side two is pretty much the same thing, except that instead of going from zero to 180 degrees, it's going from 180 degrees to 360 degrees. So we know that that's gonna work for us because basically we've got back face visibility hidden. We've got one card that's 180 degrees and one card that's the side of the card that's a zero degrees. And we'll just basically choose which one needs to be side one and which one needs to be side two. And you can see that is down here. There's the, if the card is on its front side, we're gonna animate front as side one. If it's on its back, then front will be animated as side two. So we basically hot swap between those two. So that gives us the card flipping over and that works just great. Let's have a quick chat about the shadows. Now I'm not gonna spend a lot of time on this because we spent a good amount of time on the live stream and if you've got a spare hour, it's definitely worth your time this one. There's loads of really interesting bits and pieces in there about why we can't use a blur filter, why we can't use box shadow. There's loads of stuff in there. But if you can't watch the live stream, there is actually an accompanying blog post. We'll put an annotation or put it in the description below. Have a read of that. It really does get into nine slicing and using SVG and how it is we're actually going to do a performance shadow that's disconnected from the element that it's actually shadowing. It's really an interesting technique. What we have though is we have two shadows. We have the, what I'm calling the umbra and the penumbra and the umbra is the really sort of tight shadow with a little bit of blur and it looks like, it looks like this. It's got a little bit of blur and it's SVG, which you can see here. It's just some SVG with a Gaussian blur with a deviation of two and we just have a black rectangle that's been blurred by it. The penumbra is a blurrier version. Again, it's got a blur of I think 12 pixels on it and what we do is we actually fade from one to the other. So when the card is like this and it's at the back of the 200 pixels back, we use that very tight, less blurry version of the shadow. Watch closely as we do the animation. We fade from that to the penumbra with a blurrier version and that is exactly what we'd expect in real life. As something gets further away from a plane, its shadow is going to get blurrier and bigger and so that's what we're trying to mimic here and it's a subtle thing, but it's going to give it the kind of feeling of reality and the code for it is very much the same as the other stuff. We have an umbra and a penumbra and we fade. You can see not only do we do the rotation stuff that we were doing before, we translate the shadows down and then back up again and we also fade the opacity. So you can see that the smaller, tighter, less blurry version goes from 0.3 to zero and then back up to 0.3 and the blurrier one follows it, moves in exactly the same way, same rotation and so on, but it goes from zero to 0.5 and then back down again. So it's crossfading between those two shadows to give us that effect. And finally, finally, finally, right at the end of this, we have that animation call for the pair of them and when the penumbra, the blurrier one, when it's finished animating, we basically unlock the card so that people can tap on it again and we flip the side. We know that we flip the card over so now we just say if you're on the front, you're now on your back and if you're on your back, you're now on the front and that is basically all that goes into this. So there you have it. That's how you can make a 3D card flip. You can check out the blog post on the shadows stuff and nine slicing, really interesting stuff there. You can have a watch of the live stream. That was about an hour and as I say, it's got loads of super cool stuff in there, definitely worth your time. And of course you can subscribe to this show and subscribe to this channel and you'll find loads of amazing content. They're definitely worth checking out. Ali Kass with Rob Dotten. I didn't have time to talk about the inert stuff that we're using here, but that's super cool. Definitely check out that show and I will catch you with Surma next time. Don't forget that you can subscribe. One of those two will work or you can watch the live stream and I am not going anywhere until you do one of those two things. Still here.


If you hear about SEO, what comes to your mind? Oh, well, keywords, getting the content right sometimes, a good H1 title, that's probably the first thing that comes to my mind. But also a lot of myths and things I don't know about. People say a lot of things out there about how to make your website stand in the top result. But I don't really know how to achieve that, you know? Right, fair enough. That's a really good question, how to achieve that. And I think that's a perfect introduction into what we're trying to do here. We're trying to like bust these myths. What can I help you with? What are the questions that come to your mind? Okay, so let's start with something simple. What is a search engine? All right, so a search engine is a platform or service or program, whatever you want to call it, that basically goes to the internet content and tries to catalog it. It works a little bit like in the library, right? So you probably go to a library and ask the librarian, where can I find a book on topic X, right? That's what you do and then normally it doesn't take you to basically go through all the books in the library, you just get the right books. And that's what search engines do for you. We find the right content for your purpose. All right, but when he's heard of search engines, I also heard this word called crawling, is that a thing? That's a thing. So the way that we are doing this or search engines do this is by first going through the entire internet and we have links from one page to the other. So we are using that. We start somewhere with some URLs and then basically follow links from there on. So we are basically crawling our way through the internet one page by page more or less and then once we have these pages have found them, have grabbed the content from the internet, we need to understand it. We need to figure out what is this content about and what purpose does it serve. So then that's the second stage which is indexing. So then we figure out, so this page is about ice cream. This page is about ice cream in Miami. This page is about Marmalade and stuff like that. And then the last step is if you type something in, you don't type in, I want this particular thing here. You just go like, I need ice cream, ice cream online Medellin, right? Yes, you got it. So we then basically look into our index and find the ones that are serving this purpose. And then we try to figure out which is the one that serves these purposes perfectly or best. And then we rank these higher than the others and show you the examples that we found from the index. So how do you know which results are more relevant to a given user? That's a really good question. We have over 200 signals to do so. So we look at things like the title, the meta description, the actual content that you've got on your page, images, links, all sorts of things. It's a very complicated question to answer what ranks you best. But yeah, we look at a bunch of signals. Now, if you could give me like, you know, like top three things that I should consider, what would that be? Right. So us being developers originally, you probably want me to say, oh, yeah, use this framework or use that framework. That's not how it works. You have to have really good content. And that means you have content, have to have content that serves a purpose for the user. It's something that users need and or want. Optimally, they need it and want it like ice cream. So if your if your content says where you are, what you do, how you how you help me with what I'm trying to accomplish, that's fantastic. If you just have a page that says like, we are a fantastic company and we have plenty of products. That's not serving a purpose. So you want to make sure to serve the purpose of the people who you want to attract and who you want to interact with your content. And you want to make sure that you're using words that I would be using. If you use a very specific term for your ice cream, let's say like smooth cream, five thousand or something like that, I'm not going to search for that because I don't know about it. I just going to go like, I need ice cream. It's good to mention it somewhere so that I know if I look for that trademark, I find it as well. OK. But if I if I'm exploring ice cream around me, I don't know what particular ice cream there is. If there's like a specific brand, fantastic. But that's not what I'm looking for. So speak the language that I'm using. So you're you're saying more like a pitch. It is like an elevator pitch. It's like an elevator pitch. Exactly. You wouldn't when when we two meet and you have a fantastic product or I have a fantastic product, I wouldn't go like, yeah, the blurb master five thousand is fantastic. And you're like, yeah, that's insane. Does that do? Right. So do that. Do an elevator pitch and help us. OK. Put you in contact with the right people. So content is number one priority. Could you mention other two things that are important for the SEO? You're going to love them because they are technical. So the second biggest thing is make sure that you have meta tags that describe your content. So I have a meta description because that gives you the possibility to have a little snippet in the search results that let people find out which of the many results might be the ones that help them the best and have page titles that are specific to the page that you're serving. So don't have a title for everything. The same title is bad. If you have titles that change through the content you're showing, that is fantastic. And frameworks have ways of doing that. So to consult the documentation, but there's definitely something something that helps with the content. And the last bit is performance. Hervet. Right. Yeah. Performance is fantastic. We're talking about it constantly, but we're probably missing out on the fact that it's also good for being discovered online. So performance is not just making my website faster, but it's also making my website more visible to others. Correct. OK. Because we want to make sure that the people clicking on your search results, clicking on your page, getting this content quickly. So that's one thing that we want to make sure as well. It's one of the many signals that we are looking at. But also it just helps your users, right? They get happier if I want ice cream really badly, then I get the page quicker. That's fantastic. Yeah. So if you want to look at performance, I highly recommend looking into hybrid rendering or server-side rendering if you can, because that gets the content quicker to the users usually. Right. Also, you might have bots that don't run JavaScript. So Googlebot does that, but not everyone else does it necessarily. So you want to make sure to probably figure out something like dynamic rendering if you don't want to make code changes, because I understand we are all pressed for time. We have lots of bugs and features to fulfill and work through. So if you can't change the code, dynamic rendering might be something that gets you there. OK. If there's rendering issues with your content. But besides that, I would say definitely look into performance optimization, get the content quicker, get the first contentful paint in their quicker optimizer servers, optimizer caching strategies. Make sure that your script doesn't have to run for like 60 seconds to fetch everything that you need. I know. Yeah. So those are things that you should definitely look into. And I guess performance is something that pretty much everyone in the developer community is looking into. Certainly, yes. Or they should do it at least. They should. I hope that they do. OK. So we already discussed all these basics around SEO and search engines and how to position my website in the top search results. Now the question is why is it so important for companies to rank in the top results? Right. So you're a web developer, right? Yes. You're built stuff on the Internet. Yeah. Do you want people to use it? Certainly, yes. Certainly, right? So in order to make sure that people can use it, they have to know about it. And unless you are probably one of the really big players, you might not. And even for the big players, if they launch something new, you might not know about it. And you're not looking specifically for products. You're looking for something that serves a purpose for you. OK. I want to know how I built this thing with a framework. I want to know where to find the best ice cream in the place I am in. I want to find the cutest dogs and poppers online. So I have a purpose. I don't know who serves this purpose necessarily. So if you built the best ice cream PWA ever in, let's say, Medellin? Is that how you pronounce that? Perfect. So if you built the best PWA to order ice cream online in Medellin, then I don't know about that, especially if I come as a tourist. But if I type that into a search engine, like, order ice cream in Medellin, and then it goes like, hey, this PWA does this trick. You want to be the first or the first couple of, because I'm not going to go to page 99 and go like, oh, yeah, this might be the perfect thing. Because Google and other search engines are trying to figure out what is the best for this purpose, and then show me those upfront. And then I might pick from those, because normally they're pretty good. I think that covers all the questions I have. Fantastic. So you feel like ready to build stuff that is so cool. Thank you so much for being here. Thank you for being my guest. And I hope that this helps other developers as well. And developers and SEOs can be friends, I think. I think so, yes. I think so. Thank you. Oh, are we still on? Please stay tuned for another episode of SEO Mythbusting. Next time with Suze Hinton, we'll talk about what is Googlebot. So come back again and watch what happens.


today. So I'm going to be talking about energy harvesting from an isotropic fluctuations. And this is a joint work with Amir Tawaii, Ruifu, Yongxin Chen, and Trifun Chojo. So before you start, let me give a couple words in the title. So the first part energy harvesting, hopefully everyone knows what I mean by this. So I'm going to harvest energy from stochastic thermodynamic system. But this is not going to be your typical sort of carnal cycle or sterling cycle. In this setting, we're going to be extracting work from anisotropic fluctuations. So what do I mean by anisotropic fluctuations? What I mean by anisotropic fluctuations is that the different degrees of freedom of my stochastic thermodynamic system are going to be subjected to different fluctuations. There's different temperature, different noise amplitudes. Now the reason and the motivation to study this type of systems is because they are really ubiquitous in this as energy harvesting mechanisms, but also in biological systems. So for example, here we have the very famous Feynman's ratchet. So this is an autonomous engine that's able to sort of extract work from the system by lifting some weight. So this is due to the asymmetry in these two wheels and these two wheels being immersed in these two different temperature heat paths. So far from going into the details of the system, I just want to say that we can think of the system as having two different degrees of freedom, each of which is subjected to a different temperature and therefore in this sort of setting of anisotropic fluctuations. On the other hand, we also have a myriad of proteins that really live across our membranes inside our bodies. So this is an example of the ATP synthase, this molecular motor that really synthesizes ATP by using an ion concentration gradient. So we have this membrane here in yellow and on one side of the membrane we have our high concentration of hydrogen ions and on the other side of the membrane we have a low concentration of hydrogen ions. So again, the system is extremely complex and not well understood, but I just want to point to the fact that very simplistically we can think of it as having two subunits. The upper subunit is immersed in this heat path which is in this environment which has a lot of bombardment coming from these high concentration of hydrogen ions. While the lower subunit which is somehow coupled is immersed in this environment in which there's low bombardment from these particles and therefore we can think of this system again as having two degrees of freedom subject to different amplitude in the fluctuations. So but again, I mean the scope of my talk will be sort of more simple than this, these are very complex mechanisms. So what I will be focusing on is more simple systems and symmetric systems, such as the one portrayed by the Brownian gyrator system. So the Brownian gyrator was introduced by Felicer and Raymond in 2007 and what they thought of is the thought of one particle that is able to move in two dimensions. So in one dimension, it will get a lot due to this hot temperature. While in the other dimension, we won't get it that much due to a cold temperature. And this particle is sort of kept in place by this potential which in this case is quadratic and makes the dynamics linear. So these same dynamics are also able to model the dynamics of this circuit and in particular the charges at these two different capacitor plates and how these charges evolve in time. So these charges will again fluctuate due to these two different resistors being subjected to different temperatures and therefore giving rise to these Nyquist-Johnson fluctuating currents that makes these two degrees of freedom, these two charges also in the setting of these anisotropic fluctuations. So one of the reasons this system has been so widely studied both sort of theoretically and experimentally is because of its simplicity. The linear dynamics makes it analytically solvable, so we know a lot of things about this system. But the other reason it has been so widely studied is because it displays what we call non-equilibrium state states. So we have already seen a couple of things about non-equilibrium state states, which is me, let me give the basics. So essentially we have our thermodynamic system and we're going to leave it by itself, so we're not going to change anything. It will eventually reach a steady state, so a state that won't change in time. But the state state will be very particular because it will be a state that's not at equilibrium. In this case we would have, for example, swirling particles around the origin. The swirling motion doesn't change the overall sort of state of the system, so we're still at steady state. But it mediates heat transference between these two heat bars, therefore driving the system far away from equilibrium because we have this constant entropy collection at the environment. So the motivation to study this non-equilibrium state states and the reason we are so interested in them is because they're really a signature of life because life by necessity operates far away from equilibrium. It's characterized by this order and this complexity that can not really be found at this equilibrium state, the state of maximum entropy, maximum disorder. So this is a very broad sort of motivation of the study of this type of system subject to anisotropic fluctuations. Let me actually go to the object of my talk. So I will talk, I will split the talk into different parts. The first part will be sort of basics on stochastic thermodynamics. So we'll forget about anisotropic fluctuations. We'll simply consider a one-dimensional system with one temperature, which in particular will be overdone. So what I will try to sort of make sure that everyone's in the same page on the notation. And moreover, I will try to draw this sort of relationship between stochastic thermodynamics and a field of mathematics known as optimal mass transport. This, this relationship between these two will give us a geometric view that will be extremely useful for the second part of the talk. So in the second part of the talk, I will be actually talking about these systems subjected to anisotropic fluctuations and in particular, we'll try to extract energy from these systems. And through this sort of geometric picture, and we will show that the problem of maximizing work output is really related to anisoprometric problem. Well, that of maximizing efficiency is related to anisoprometric inequality. So let's get started. So throughout, I'm going to be considering this overdone langivine equation. So essentially I'm modeling the position of this Brownian particle with x. So here's my Brownian particle. This particle is immersed in a heat bath of smaller particles, the red ones. These particles are at some temperature, and therefore they jitter, and they will eventually bump into this Brownian particle. So this will exert some force on the Brownian particle. This force is what's being modeled by this Gaussian like white noise, essentially this Brownian motion. So we have this particle at this heat bath that is very viscous. So we're in this overdone setting. So really, this is the assumption that the inertial effects can be negligible in the time scales we are interested in. So the velocity degree of freedom really decays much faster than we're interested in. So it doesn't really hold any energy. And therefore we can think of the system as the forces directly acting on this position. So the forces are directly changing the position of my particle. So this will be my sort of setup, my model for my thermodynamic system. So we have that the position of my particle changes due to two forces. One force comes from these thermo fluctuations, these red particles. It's proportional to this B, the Brownian motion, the square root of two times gamma, the friction coefficient of my heat bath, KB, the Boltzmann constant, and T, the temperature of my heat bath. On the other hand, I will also be considering a potential forcing. So a forcing that comes from a potential function, the potential energy of this Brownian particle. As such, it is really a function of its position. But we will also take it to be a function of time. And this is because we will assume that we have external control over this potential energy of my Brownian particle. That's typically the case in some experimental setups. So we'll really think of this T as not only time, but also our control parameter. So again, this is a stochastic differential equation. As such, we can perform an experiment and we'll get one trajectory. If we perform the same experiment again, we'll get a different trajectory. So instead of looking at it at the level of a single particle trajectory, we can look at its statistics. So the statistics or the information is essentially inside this function, the probability density function, this row of T of x. What this row of T of x is telling us is what's the probability of finding a particle at position x at time t. So this probability density, because we have this type of model, now evolves according to this Fokker-Flanck equation, which we have written here as a continuity equation. This means that really the mass of rho is conserved over time. So the integral of rho over dx is really always equal to 1, which makes it a reasonable probability distribution. So in order to write it in this continuity form, we have defined this mean velocity field, this B of T of x, which is minus 1 over gamma times the gradient of u plus kBt times the gradient of the logarithm of rho. So now again, sort of with this very brief sort of introduction, what I'm trying to say is we have dynamics at two different levels. At one level we have dynamics of single particle trajectories and at the other level we have the ensemble dynamics. So with these dynamics, let me now go into the energetics in order to actually do some thermodynamics. So the energy of a single particle, as I sort of hinted at in this overdone setting, simply given by its potential energy, because the kinetic energy really can be neglected in the setting. So let us take the differential of this energy and we'll get two different terms. One that accounts from how u varies with respect to t, so partial u with respect to t dt, plus partial u with respect to x dx. This first term really takes into account how the energy varies through these control degrees of freedom in this sort of useful way, this is why we'll call it the differential of work. On the other hand, the second term really takes into account how the energy varies through these sort of uncontrolled degrees of freedom, not directly controlled over, and really counts for how the energy of heat. So these two different terms here are sort of fluctuating terms, random variables, so they really depend on each of the realizations. But as before we can still have a picture at the level of an ensemble simply by taking the expected value. So we can take the expected value of each of these terms and also integrate over time and we'll get to the work and the heat at the level of an ensemble over a time interval. So these are now sort of deterministic expressions. So using doing the exact same thing sort of with the same with for the whole expression, we'll get to the first law at the level of an ensemble, which is simply stating mass conservation, sorry energy conservation. So the energy of my system only changes either through work exchange with the external potential or through heat exchange with the heat path. So with this now, let me try to derive the second law and this will be the last slide of my introduction. So the second law of thermodynamics states that the entropy of an isolated system always increases. So the entropy rate is always positive or at least non-negative. Now my isolated system is now formed by this combined system of both the system of particles and the environment. So I really have to take both of them into account here. So the entropy rate of the system is given by the partial derivative with respect to t of minus kB times the integral over log of this just the entropy of my system. On the other hand, the entropy rate at the level of the environment is given by this sort of classical expression because the environments seem to be at equilibrium. So it's minus the heat rate divided by the temperature. Now putting these two terms together, summing them up, really playing around with them and integrating over time, we'll get to the following expression for the total entropy projection over a time interval. So we're going from one probability distribution to another probability distribution in some time tf. So we're going through some path in this sort of space that I will now call the space of thermodynamics states, the space of probability distributions. So the total entropy production we can quantify as a constant and times this integral over time of the expected value of the square norm of the velocity. So in particular, this is always positive and this really constitutes the standard second law. But of course, in the setting of stochastic thermodynamics, we can do better than this and we can have a finite time correction to this. And a way to do so is through optimal mass transport. So this branch of mathematics has been really studied for almost 300 years and its goal and its sort of object is to study this optimization problem. So the goal is to minimize this sort of action integral. So an integral over time of this kinetic energy of the particles that flow according to this continuity equation from an initial probability or mass distribution to a final probability or mass distribution. So what of the Lama transport tells us is that the solution to this problem exists, it's unique. And it's given by the square of a distance, in particular the fascist time to a distance between the two endpoint distributions, rho zero and rho tf. So now by noting that really this cost is nothing but a constant times this total entropy production, we can really use this optimal mass transport theory to have this tighter bound on efficiency. And in particular, we still have this constant, we have one over tf and this square of the distance. So if tf goes to infinity, of course, we recover its standard second law. But if tf is finite and if rho zero and rho tf are different to each other, they're not exactly identical, then we have that this term is always positive. So we really have this finite time correction to the second law that is on top of that always achievable. So optimal mass transport also tells us what is the optimal path, the optimal rho of t that goes from rho zero to rho tf, and the velocity to achieve this. So the control that you need to achieve this. So this framework is really extremely useful in this problem of minimizing entropy production. But it's not only useful in this problem, but it also gives us a way to sort of metrize this space of thermodynamic states. So now let me think of my space of thermodynamic states as this space of probability distributions. So this wastes time to distance what's really telling me is that we can really measure distances in this between two probability distributions in the space of probability distributions. And we can not only do so, but we can also measure lengths of given paths. And this will be extremely useful in the second part of my talk. And this will really give us a geometric view that will help us solve this problem of harvesting energy from anisotropic fluctuations. So now in the second part of my talk that let me consider n dimensional system, and now each of the degrees of freedom is going to be subjected to a different temperature. So we're differing the setting now of anisotropic fluctuations. So in particular, I'll have the same exact overdamped dynamics. But now the x lives in Rn and t is a matrix that is n times n. And it's diagonal with unequal entries to low working extraction and to have this anisotropic fluctuations. So again, each of the degrees of freedom here are really subjected to a different temperature. So my goal in this talk will be to find the optimal control u that maximizes work extraction system while driving the system over a cycle. So because we are going over cycle, really, we start and we end at the same state and therefore the energy over a cycle of my thermodynamic system doesn't really change. So the energy over a cycle is zero, which means by the first law, that really the work output, which is minus the work because of the sign convention of chosen, is really equal to the heat. So for us, it will be more convenient to focus on quantifying this total heat over a cycle. So this is what we will do. So what we did is we got this definition for the heat rate that we had a couple of slides ago. We played around with it and we wrote it in terms of V and rho only, so without the gradient of u. So we express the gradient of u in terms of rho and v. And we got these two different expressions. So this first expression is linear in the velocity while the second expression is quadratic in the velocity. In fact, the second expression should by now be familiar because nothing but the cost that we were trying to minimize this optimal mass transport problem. And as such as Tf goes to infinity, then this term can always go to zero and therefore we will call it the dissipative heat. On the other hand, we have this term that is linear in the velocity and because of this, we can really interpret it as a line integral in the space of thermodynamic states. So as a line integral, it doesn't really depend on how fast we go along this line on how we parameterize it, but only on the shape of this line. And this is why we'll call this term the quasi static heat. So okay, so now let us go over a cycle. So in particular, we're going to go over a cycle in the space of thermodynamic states. So this is an infinite dimensional manifold and the cycle will simply represent a closed curve. Now let me sort of simplify and restrict myself to a two-dimensional sub manifold. So now we'll look into a two-dimensional sub manifold, which is parameterized by this curve alpha. So a closed curve in this two-dimensional sub manifold parameterized by lambda one and lambda two, these two degrees of freedom. And this curve will encircle a domain that we call D. So it's a closed curve. So why are we interested in this sort of very abstract setting? Well, the reason it's like it can be useful. So here's an example and this is actually an example that I'm going to go back to over and over again. And this is the setting of the Brownian generator. So here we have essentially quadratic potential linear dynamics, which makes our probability distributions Gaussian. In particular, here we'll have zero mean and as zero mean Gaussian, they can really be represented in terms of the covariance matrix. In this case, we have a two-dimensional system. So the covariance matrix is just two by two symmetric metric. In this case, we're going to simplify a little bit and parameterize it by r and theta. So theta will measure sort of the rotation of this metric. Well, r will measure the relative magnitude of the two eigenvalues. So again, we'll have two degrees of freedom. So yeah, two degrees of freedom are and theta.  I will give you the state of my thermodynamic system. So okay, so now let me zoom out and I'm actually going to go back to this example over and over again. But I will also sort of in parallel try to give you a more abstract vision of this problem. So let me now zoom out. Let me write the quasi-static key as we had it before as a line integral. Now because we have a closed curve, it's going over the perimeter over of this domain. Because we have this finite dimensional parameterization, we can really use Stokes theorem to write this line integral as an area integral. So we can write this area integral in a very general way, but let's not focus on this sort of abstract setting. And let me go back to our example. So in our example, we can really write this quasi-static key as this line integral. So it's clear it's an integral over the perimeter, something times dr plus something times d theta. Now we can explicitly use Stokes theorem to write it as an integral over the whole domain, over the area of some function that comes from Stokes theorem that we'll call the work density, some sort of unit area. So let me plot this work density here color coded, okay here color coding. So here what I'm plotting is each of the points in this plane is really corresponds to different R and theta and they're really really correspond to a different state of my thermodynamic systems with a different probability distribution. So let me give you so what we've learned is really that if we go along this particular cycle, you can just an example in red. So what we found out is that the quasi-static key is simply given by the integral of the area enclosed within this cycle, weighted by our work density that is here color coded. So we found out the quasi-static key, the quasi-static work is nothing but an area integral over a work density. So let me now look at dissipation. So dissipation again can be a result of this cost that we can minimize. I don't know if there's a question. So because we know it's the cost and it's problem, we can really use this geometry to lower bound this expression. So for any given we'll be able to lower bound this equation by some constant divided by tf the final time of my transition times the length squared of the of this curve. So the length squared of this given curve, this length measured in this fascist into sense. So what this is telling me is that if you give me any curve, then I can give you through optimal mass transport the optimal parameterization that will minimize this quasi-static dissipation. So okay, so let us write this length in terms now of my two parameters. So we have it, we can write it as an integral over this perimeter of the norm of the velocity of the curve and this norm in the fascistine to sense. So weighted by this fascistine metric GW. So for our example, this GW takes the following form. So we have this metric, which is a diagonal and it's also very simple because it's data independent. So it's rotational symmetric. And this will be extremely useful later. So again, going back to our plot and to our example cycle, what we found out is that if we're going along the cycle, then minimum dissipation is really given by something proportional to the square of the length of this red curve. And this length measured in this fascistine to sense. Okay, so let us put these two things together. And then we can write the work output as is different between the weighted area here and the length squared. And this length squared is actually weighted by some parameter mu, which is this ratio between this characteristic time, which is constant for our given system, and this time of my period, the time of my cycle. So our goal now is to find, to maximize this work output. So to find the optimal cycle in the space of thermodynamic states that will actually maximize this difference. So what we realized when we looked at this problem, so this problem is really related to an isometric problem, which is that of maximizing an area integral with such that a length is fixed. So the isometric problem has an extremely long history on sort of the canonical isometric problem is that in Euclidean space and flat space, so we can think of it by grabbing our shoelace and trying to close the curve for our shoelace. And then we can put the shoelace on top of our table and try to find the optimal shape of our shoelace that will maximize the area within it. So playing around with it, we will shortly find out that the optimal curve is, of course, a circle. So here we have the exact same problem, but instead of a flat space, we have a curved space, we have the space of thermodynamic states. And moreover, we also have weight areas. So unfortunately, the solutions to our problems will no longer be just circles, but will be a little bit more complex. So what we can do, so we can write the first order in the specific condition for optimality, so a condition that has to be satisfied if our cycles are optimal. And this is the condition for optimality for this problem of maximizing work output. So through this condition, we can really understand this relationship, because we can really think of mu as either a parameter for this problem of maximizing work output, or as a Lagrange multiplier for this problem of maximizing area such that the length is fixed. So we really share this first order in this condition. So now, next, what we did is, okay, we couldn't solve analytically in whole generality this expression. So what we did is we went back to our Brownian-Jaritor example, and we solved them numerically. So what we found are here the optimal curves that solve this isometric problem, so for different fixed lengths, so for smaller lengths and for larger lengths. And these are portrayed over this grid that exemplifies the work density, this WQS. So of course, the optimal curves are always trying to go over this point with maximum work density. Another way to understand this plot is through this sort of relationship between these two problems, is by instead of looking at different fixed lengths, looking at different fixed mu's, because really, the higher mu, the more penalty on this length squared, and therefore the smaller cycles will be the lower the mu, so this would be the lowest mu, we would have longer cycles. So again, let me be a little bit more explicit of how the solving this isometric problem actually helps us solve this problem of maximizing work output. And so here we have plotted the optimal. Sorry Olga, just a brief comment. You have five minutes including, including questions, but I guess you're finishing in around a minute. Okay, thank you. Okay, so I'll have to skip some slides, but okay, so here we have numerically solved the isometric problem. So these are the optimal areas for different fixed lengths. So here we have different fixed lengths. So the solution to this problem really helps us find the problem, the solution to the problem of maximizing work output, because this is the maximum work output is simply the maximum vertical distance between this optimal isometric line and the line with constant slope mu, because really the work output is related to this difference. But moreover, by solving this isometric problem, we also have a solution to another problem for free, which is that of maximizing work output for a fixed efficiency. So I haven't defined efficiency yet, but I will do so very shortly. So just believe me very with me that the points with constant efficiency will be located at a line in this plot. And therefore, the operating point for this problem of maximizing work output for a fixed efficiency will be simply located at this intersection, and the work output would then be given by this vertical distance. So okay, so as I promised, let us now take a look to efficiency. So efficiency can be defined for the system subject to isotropic fluctuations as this ratio between the work output and the quasi static work. And this really makes sense because the quasi static work is the maximum amount of work that we are, we are able to extract from any fixed curve, if we're able to parameterize it in infinite time, so if we can get rid of this patient. So of course it means that the efficiency is always bounded by one by its second law. Now our goal is going to be to try to find a tighter bound on efficiency and try to find a bound that takes into account the fact that we are working on finite time. In order to do this, we'll again use our sort of geometric tools. So let me write this efficiency in terms of my area and my length as one minus mu times this ratio between the length squared and the weighted area. What I will do now is I will use isoprometric inequalities to bound this efficiency. So isoprometric inequalities really bound this ratio between the length squared and the area that is enclosed within any length in a given manifold. So they come in very different forms and very different shapes and some of them might be tighter than others depending on what physical setting we have, what model, what institutionally, what underlying space we have. So what I'm going to do is I'm going to exemplify how to use these through our dimensional Brownian character example. So in that example, if you remember, we had a rotationally symmetric metric, which means that we can use this particular isoprometric inequality. Since you're working out the details, we'll get that the length squared is always lower bounded by two pi times the area enclosed within it. Now this is an weighted area. Well, for efficiency, here we had weighted areas. So what we have to do is the problem, have to multiply and divide by the unweighted area and then use the isoprometric inequality to bound this term. So here we define this F bar, which is the ratio between this unweighted area, sorry, this weighted and this unweighted area. But this really still depends on the cycle we choose. So because we want this bound inefficiency to be sort of universal independent on the cycle, we will estimate this F bar by the maximum of F, which in this case is one half. So here we'll have our bound inefficiency that now is independent on the cycle. And he has this finite time correction. So it's one minus four pi times to see this characteristic time divided by TF, the time period of my cycle. So not only do we have this finite time correction to efficiency that is independent of the cycle, but we also have a speed limit. Because if TF is smaller than four pi times to see, if we're going too fast, then this negative term will dominate over one. And the efficiency will always be negative no matter what cycle we choose, we're always going too fast. And what negative efficiency means is that we cannot extract any positive work. Okay, so with this, I was going to talk a little bit about non-conservative forcing. And we've shown how this problem maximizing this power output when we have control over non-conservative forcing at state-state is really related to an impedance matching problem in circuit theory. I'm not going to go over the details. I also want to point out that we can use this sort of problem that we try to solve of maximizing work output through this potential forcing to really have design principles to design autonomous engines. And this is what we did based on this electrical embodiment of the Brownian generator. In another work, again, I won't go into details. Let me just sort of wrap up and summarize and hope that I've conveyed this idea that optimal mass transport can really be useful in stochastic thermodynamics, and in particular in the setting of thermodynamics. Not only because we have a neat sort of geometric view, but also because it really opens up our toolbox to other type of tools like differential geometry, like isometric inequalities, for example. So what we showed is that the problem of maximizing work output is really related to an isoprometric problem, but that of maximizing efficiency is really related to finding an isoprometric inequality in the space of thermodynamic states. So with this, we would be able to sort of have some design principles for autonomous engines. And let me just finish up with sort of things that we haven't yet tackled, which is essentially that we had to restrict ourselves to dimensional submanifolds. So it would be really nice if we could do this in infinite dimensional submanifolds, and also to the fact that we had to use isoprometric inequalities, but did not account for densities in this area. So it would also be really nice if we had some results that intrinsically take into account those densities. And with this, just let me thank you for your attention, and I know it's late, so I'm sorry to give you all so late. I also thank the team.


So we're here at the ID TechX and hi, so who are you? My name is Laura Frisk. I'm the CEO of Trellig. Hi So Trellig here dot fee. Are you from Finland? Yes, we are from Finland and Hi, so who are you? Hi, my name is Sanalahokalio. I'm also working at Trellig. So What is what are you seeing here? So this is our small bending tester. So it's currently a testing PET film which have been printed with silver ink and then there is some leds connected to it using electrical conductive adhesive. So what we provide is the test service to analyze and test flexible and stretchable structures. It's very important to test, right? Yes, there's a lot of people here doing cool stuff But are they all testing as they should? I don't think so. No, you don't think so? No, and I think the reliability is also something everybody understands that it's very important But then when you start to talk about it, they say that yeah, we are developing this and you say that yeah We should consider reliability also. Yes, but we are going to do this first and then they finally have the perfect product and then they start to test and realize that there is something fundamentally Wrong in the product from reliability point of view and that can be extremely expensive and also time-consuming So it's good to start consider reliability as early as possible and also test it and kind of make sure that the structures you are using really can withstand the Conditions you are going to use them in. I can imagine some people are Engineers might be a little bit sad if you actually show them that there's an issue with their Product, right? Yes, but it's like a it's like a nightmare a little bit. No, it's not I'm joking, but it's not but it's not a nightmare if you get it done early. No, because then you can fix it I think it's a nightmare when you have everything finished and you are planning to you know Go to to the market with your excellent product and suddenly you realize that the reliability isn't there or worse If you have actually had the product you are selling the product and then you realize that the the reliability is not as it should Because that can be really catastrophic So that's why it's very important to test it as early as possible. So you design this? Yes, this has has been made by one of our Our workers we are actually this is our small one and then we have a bigger one which is valid a valid 80s at the Moment and that we can use also inside a test chamber so that we can control humidity For example use higher humidity levels or high temperature or combination of these with the mechanical testing So that will Accelerate the test and how do you test humidity? So humidity testing normally is we have a test chamber where we can control the humidity levels and then we can also control Temperature so we put some samples in normally we try to always measure something for example electrical conductivity or Something which we can measure in real time to see when the product fail or if it doesn't fail Does it behave as it should and then of course after testing we do fairly analysis and analyze what went wrong And how did it behave and so you do an analysis right this? Here's the stuff about what's what oh, can you show okay? Yeah, so this is for example This is a guide we did write about About reliability and why it's important why it's important to test as early as possible and what kind of things you need to take into consideration when you are Thinking about how to test and what to test and at what stage so it gives kind of basics of reliability And yeah, those are our test wires Kitty wires Mostly yes, because we can measure We can have hundreds of structures within inside our test chamber And then we measure all of those and analyze the data and so on is it Helsinki or no, it's Stamper So it's 200 kilometers north of Helsinki. It's better, right? Yeah, it's definitely We could get lots of snow during winter And what do you do? Well, I work mainly with materials so do material characterization and So are there lots of interesting materials going on in this industry What's the what's the hottest one? That's the most important to test right now. There's a silver nano What's it? Of course, no no things are very hip and pop and there are some reliability issues with those but I Guess when we regard this kind of things It's probably flexible structures flexible materials how to get for example adhesives flexible, but still reliable and Here the show do you have lots of people coming here and saying hey, I need this or what's going on? Conversations and people start to realize that you need to take reliability Liability seriously and not just, you know, consider it at some point and you need to do it properly Of course, there are no if we consider traditional electronics. We have more Standards and there are methods people have always used and even in those areas There has been a change that we get more and more tailor testing and more and more kind of you need to consider What's kind of test to use but Especially when we are talking about new structures new materials It is so important to really consider what you test at what conditions and how you do it to make sure that that your product is reliable and It can be quite quite a challenge. I have you into a ID tag actual This is our second time, but last year we didn't have our own So what do you think about the show? It's really nice. Last year it was brilliant and so far it has been really nice too And so people just ship you the stuff to Finland or you sell the machine to everywhere? No, we don't sell equipment So people send us what needs to be tested and then we discuss what shall be tested What kind of conditions and test methods we are going to use and also about what kind of for example failure analysis Methods we are going to use so how we are going to analyze what's going on in the test chamber Do you do stuff like flexible displays? You know those new flexible phones that are coming out and stuff like that. How do they test? Because it's not good if the phone just breaks and if you fold it ten times, right? We haven't done that, but there are so many things to consider when you have the full display I mean you are not just talking about mechanical robustness, but also about how for example how you use the Display so that will be a slightly different approach. Shouldn't you be testing all kinds of angles? Yes, and that is something no at the moment We don't and that is something we are developing at the moment so that we could do also for example twisting and other sorts of mechanical Stresses because that is extremely important to are you the market leader for this? I Don't really I think the market is just developing so I I don't know actually What's the situation in the market at the moment about bending testing? But of course if we consider reliability testing in general there are lots of lots of big companies doing that But many of them are specialized in them in the very for example auto industry and ruins the standard testing So we are specialized in testing new structures and structures which don't yet have for example standards and clear procedures so which one are you for example looking into right now? What's the new structure you you Targeting for us at the moment It's it's all kind of bending and especially as I was talking combination of stresses so combination of humidity because humidity goes into the if we have as here we have pd structure and Pt does not absorb a huge amount of moisture But it definitely does and it goes to the interfaces and it can destroy such a structure a lot quicker than just doing this At room temperature. So at the moment what we are looking at is the combination of different stresses and how that affects the The reliability and how that should be taken into account. So does all this industry a printer electronics all that does it work? I mean because you would be the ones to know right if it's all reliable and everything That's not a very good It's a bad question. Sorry. No, I know it works right, but I think it's gonna be bigger and bigger Yeah, and I think it will be It is one of the problems. We are we have for example, we have discussed about using Such structures printed structures for example in buildings where we are talking about tens of years of use Life and at the moment, I would say that the reliability isn't there So that will be one of the key issues if you want to for example integrate sensor structure into a building You need to be sure that it functions correctly and at the moment it's it's I wouldn't say that I would say that it's it's At least it's not proven a lot of a lot of this is maybe for cheap throwaway kind of things maybe yes Yes, and for that it works quite okay, but I think it's also people are more and more interested of using printed structures in more demanding environments and sensor structures for IOT to build networks of sensor structures and so on and For that we really need good reliability and quite often we also need good bendability and for wearables washability and all these are Still quite tricky to do and for many structures. It isn't yet quite there or it hasn't been analyzed enough to say that So you just get a few more customers and then you get all kinds of new designs for testing all kinds of new stuff, right? Are you already busy building new tests equipment and tests? Yeah, we are at the moment, but we of course do lots of test Standard testing too because that's also important It's not just bending testing, but it's also other other test conditions such as as we discussed humidity testing High humidity high temperature temperature cycling corrosion testing especially when you are dealing with something you wear We have salt we have other Impurities those need to be tested. So we are also working with lots of other methods and doing testing with those too And in the winter you can just put it outside see if it's still working when you bring it back, right? Yes, you can do that, but that's very controlled It depends a lot what kind of winter you can but that's that's done, too That's one of the tests So it is a relevant test methods. Although as I said, it's not very controlled. Thanks a lot. Thank you


So the strength of an inductive argument relies primarily on the strength of the evidence. There's a number of ways we could talk about this. We'll talk about the kinds of evidence, which we'll get to a little bit. What kinds of evidence are appropriate or inappropriate, depending on the topic. But there's some more general ways we could talk about evidence. One of the first ways is to contrast available evidence versus absent evidence. Available evidence So available evidence is basically what you have. It's the evidence that you have collected. Now there are certain problems we're trying to figure out, you know, whether you have all the available evidence. Okay, you have very definitely a problems there. We'll have to take those with the case-by-case basis. But I want to contrast available evidence to absent evidence. Absent evidence is when, well, it'd be great to have this evidence. It might lead to a conclusion one way or the other, you know, for an argument, but we simply have a collected it, or it doesn't exist. So a really famous case, right? We're talking about whether there's life in the universe. Well, we have lots of available evidence. We have what constitutes life in our own solar system. We have what our planet looks like versus other planets, and whether those other planets can produce life. We look for the conditions for life. When we have lots of evidence as far as this is concerned, ranging from, you know, the green belt, right, that little relatively narrow range between where a star's radiation or the two hot, right, too much radiation versus too cold, right, is a very narrow belt where planets can exist with these stars where it has just the right temperatures. Okay, so we have what, how many stars out there actually have planets, or at least estimates, the different kinds of planets, right, ranging from gas giants to just, you know, big balls of rock. You know, even what I believe Venus has got a lot of liquid on the surface, it's just not water. So we have lots of available evidence regarding the existence of life. And you know, we start compiling this, right, start putting this together. We, I think I believe it's called the Drake equation, right.  Now, we don't have a precise count, of course, but, you know, we have a really good estimate, how many stars are out there? How many, how many of these stars have planets? How many of these planets are in the green zone? How many have water? How many have an atmosphere that's, you know, you need at least some atmosphere, otherwise that water's just going to evaporate away. So, well, under certain conditions, that water's going to evaporate away, like, you know, in our situation, for example, if we didn't have our atmosphere, the water wouldn't have stayed on the surface. It would have been, would have boiled away. There's a number of elements that are present in your own, you know, biological system that are necessary for life, iron being a big one. So then, you know, the Drake equation tries to compile all this information together.  And, you know, in addition to maybe how many support intelligent life. And when you, you know, put all this evidence together, it's a really great, it's a really great inference, right? That's at least the best available we have so far. Now, it would be wonderful, but that's what's available to us. And it's really cool evidence, and it gives us a probability of, you know, higher than zero, right? It gives us a probability that there's life out there. Okay. But we're missing a lot, right? So that's what's available. It'd be nice if we had some other evidence, right? No, I don't know. Contact. That'd be really great. Or at least being able to see, seeing another planet with life forms on it. Or, you know, evidence of life on other planets in our solar system. Or even better, maybe evidence of civilizations in our, in our own solar system, right? There's all kinds of evidence that would be great to have, but we don't have it. It's either unavailable or it doesn't exist. So, when we're talking about the strength of the, of the argument, we're talking about the strength of the evidence. We can use available evidence, but not absent evidence. You can't use absent evidence for your conclusion. It's contrary to reason. You know, and you might say, well, why can't we use absent evidence? Well, you can draw way too many conclusions with absent evidence. Sure, there's all kinds of absent evidence for the existence of life. There's also all kinds of absent evidence for, you know, the non-existence, right? So, we'll keep looking out there and there's, you know, the Drake equation is a nice estimate, but when we start looking at, you know, if we start looking at planets, we will, I bet we'll find that they're all dead and devoid of life, and that will show that there isn't life out there. Okay, I mean, sure, that would be compelling, but we don't have that evidence either. We've been looking at exoplanets and other star systems, so we're getting various results. But we, you know, what we don't have is, I don't know, here's another piece of absent evidence. We don't have a piece of absent evidence that's some kind of extraterrestrial time capsule buried in the North Pole that explains the entire history of the universe up to this point and how all civilizations died, and there's only, and they all got together and left a nascent life form on this silly little third planet from this. No, we don't have that either. It'd be nice to have it, right? It'd be really decisive, or, you know, a spaceship that crashes to the earth and says, I'm the last surviving member of all the empires that have existed, and, well, I'm here to tell you that you're all alone. You know, okay, that would be decisive, but that's also absent. We don't have it. There's all kinds of absent evidence, I suppose. That's kind of a weird thing to say. There's all kinds of evidence that doesn't exist, right? There's all kinds of possibilities, let's say, for what would count as evidence one way or the other for the conclusion, but since it's absent, we can't use it. You can only use available evidence. You can only use available evidence. So when you're looking at your inductive argument, what's going to strengthen that argument is looking at the available evidence and casting aside the absent evidence. Wash your hands of nothing.


Hello, DDS Stevens here, Senior Handler at the Internet Storm Center. This video is for the analysis of a JPEG image with malware for my diary entry, James Web JPEG with malware. On Wednesdays Stormcast, Johannes talked about a malware that was inside a James Web telescope image from this blog post here. This is the blog post. They explain that they have found malware that uses JPEG images to transfer the content, to transfer the payload. So the code will not execute when you open the JPEG. That's not it, but the JPEG is used to transfer the payload in a hidden way. And if you go to the bottom, here you have IOCs. And this is the IOC for the JPEG that you can find on VirusTotal. So I wanted to take a closer look at the JPEG itself. And I have it here, inside the password protected zip file. And I'm going to take a look at it with my tool JPEG dump. But before I do that, I'm going to show you how a normal JPEG looks like, like the one that I have here, James Web JPEG. It's this well-known image of the James Web telescope. So let me run my tool JPEG dump on it. And then you get a list of all of the segments found inside that JPEG file. JPEG is buildup of segments, which are records. And you have different types of records. A normal JPEG file should start with an SOI segment, start of image, and end with an EOI, an end of image. And in between, you have different segments with data, like app segments, discrete cosine table segments, start of frame segments, Diffie-Hellman table segments. That's all for the compression here, DQT and DHT. And then the image itself, SOS, start of scan, with here the compressed image. With my tool, you can select a segment to take a closer look inside. For example, select two. And here you can see that it contains this data, app zero. Let's take a look at number three and four, two. Number three, which is rather large, so I'm going to do more. And as you can see here, this is Photoshop metadata. Space Telescope Institute, NASA, and so on. Segment four, this is the EXIF data, Adobe Photoshop. So that's how a normal JPEG looks like. Now let's take a look at the JPEG that contains malware. OK, and here we have much more segments. If we take a look, we have a start of image, OK, that's normal. And then going down here, segment 15 is an end of image. And then segment 16 is another start of image. And if we go down here, 30 is an end of image, 31 start of image, 45 end of image. So what we have here inside that file is three JPEG files concatenated together. So it's not a picture with three frames now. It's three times a JPEG file that is put inside this file. Of course, what I wanted to know are these different images or are they the same, are they identical? And that is something I can figure out by using option uppercase e extra to calculate the hash of each data of each segment's data, like this, OK? So now for each segment that has data and the start of image and end of image segments have no data, but for each segment that has data, I have the SHA256, OK? So these are all here different. And then for the next image, again, I have the SHA256 of each set of data of each segment. And if a hash has been seen before, then between parenthesis, you will have the number of the segment, so the index of the segment where it corresponds with which has the same hash. So here, this segment 17 has the same hash as segment 2 here. And that is similar for all the hashes that follow 2345678, 910, 1112, 1314. So these are all the segments here. So all of the segments here have data that is identical, at least the hashes is identical. So the data should be the same, too. So from that, I can conclude that these two images are actually the same, because the same hashes and the same goes for the third picture. Here you can see that it matches two previous hashes in segment 2 and also in segment 17, 3 and 18. So 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, which corresponds to this here. So again, these three images are identical because their hashes of the data of the segments is the same. OK, so that's one thing. Now we know we have three pictures that are identical. So actually only one to look at. Now, the next thing here is this D parameter. D stands for difference and it should always be 0, because this tells you how much unexpected bytes there are between two segments. So there shouldn't be any bytes between segments. It should all be proper segments and nothing should be in between here. But as you can see here, between segment 15, the end of image of the first image and segment 16, the start of image of the second image, there is a lot of data, more than 2 million bytes. So between those two pictures that have been concatenated together inside that file, something else has been put, which is not a picture. Otherwise, the tool would find segments inside here, but there are no segments inside. So let's take a look. So it's segment 16. If I select segment 16, sorry, not the Shah here, select segment 16. OK, nothing is selected because this is a start of image segment and it has no data. To select the data, which is between segment 15 and 16, just add a D to the index. So select the difference that comes before segment 16, like this. And then we get an extra decimal ASCII dump of the data that is found here. And here you can see a lot of As and certificate. So let's also take a look at the beginning and I'm going to do that with my head tail utility. It's just a combination of the head and tail utility. So you have the first 10 lines of the output and the last 10 lines of the output. And here you can see begin certificate and here end certificate. So it looks like a certificate has been put in between those two images. Let's dump it and not do an ASCII dump. But now we suspect it is actually a printable certificate. So let's do a dump and indeed this is a certificate. Now it is not a proper certificate because a certificate should always start with letter M. I also refer to that in my diary entry here. You can see it starts with TVQ. Well, that's not normal because if you go to this blog post here, I explain that a certificate always starts with byte value 30 and that results in the letter M. So if you have a certificate like here and it doesn't start with uppercase M, then something is wrong. And that's the case here because it starts with TV and TV that's also well known because that is the MZ header for PE files. So this is base 64. We can decode this with my tool base 64 dump like this. And then each line is separately decoded. At the end a lot of zeros. Here we can see strings that correspond to executable code. Let's take a look at the beginning. So here we have the MZ running those text data. So this certainly looks like a PE file. I'm going to use option W to ignore all white space. So the result of that is that all those base 64 strings. So let me show you. Here, this line, this line, this line.  So like the carrier's return U line here, like this. And then it just finds two strings. Begin certificate. OK, that's a false positive. But here TVQ, MZN here, you have the MD5 file. So you can look that up on virus.total for example. This is the virus.total here of the image. And this is the virus.total analysis of the malware and the PE file 64 bit and assembly and what it does. I'm not going to analyze the PE file itself here. And also the PE file doesn't execute when the JPEG is open. There's other malware that extracts the JPEG from the image. That is all explained in the blog post that you can find here when you go to my diary entry or to the Stormcast page of that day. OK, so last thing I'm going to do, I'm going to select that base 64 decoding number two, do a binary dump and pipe this through my PE check tool to confirm that it is indeed a PE file. And it is because it decodes properly and lasting an overview of the segments. OK, so what is the malware here? How was it created? Well, just by taking one picture on James Web, concatenating this together. So for example, do a copy of James Web and then the malware encoded as a certificate. And it's encoded as a certificate because then it can be just decoded with cert util. Again, James Web, do this binary and then here malware JPEG like this. So that's actually how the image, that's one of the ways to create that image.


Hello everyone, my name is Rosa Maria Costich-Desneros and I am working with the Independent Theatre Hungary and we are sitting down today with Alex FIFA, with a freelance art actor and playwrights and today we are discussing Bambina, Queen of Flowers. So yes, Alex, if you could tell me a little bit about who you are. That'd be great. Well, I'm a social and political actor here in Romania and Bucharest, Romania. I've started getting involved in this process of producing drama and theatre on this particular niche, let's say, of social and political. Back in 2013 and 2014, Bambina, Queen of Flowers is kind of one of my first attempts at organizing and producing the theatre and I'm also the co-partner of Art Hub Bucharest, which is the platform that we use for getting our grants and producing the Roma Independent Theatre here in Bucharest, 2021. Fantastic, fantastic. So this piece, Bambina, Queen of Flowers, if you have a little bit of an Italian ring to it, is that by accident or can you talk a little bit about the title? For the people who have seen the show, it is explained in the performance that the main character of the play, Mrs. Lina Giorgescu, actually was known in the whole of Romania, in the whole of Bucharest, in the Florist community in Bucharest and all over Romania and even internationally on her, let's say, name, surname that used to be, since she was a child and starting getting into this business, it was called, she was called Bambina. Bambina, which, yes, has a similar Italian sound and means a child. So Bambina, a really strong and powerful businesswoman, Roma businesswoman, one of the first and the most important figures, actually was called by everybody in the community and within the authorities and stuff and partners outside Europe as Bambina. And she was remembered and still is remembered by the Florist community as the so-called Queen of Flowers here in Romania. Yes, and I think it speaks to, you know, a lot of jobs or skills from the community, you know, we have our own businesses, we like to be autonomous, there's a lot of kind of creativity as well in the work that we're doing. So it really references that side of the community quite, quite beautifully. And, you know, it's, I remember growing up hearing a lot, you know, the Gypsy kids, they'll sell the flowers at the markets or and sometimes it was negative, but also sometimes it was positive. There is a little bit of kind of admiration for that connection with nature. I think it depends. I think it depends on how much interest do you have as a public, as a general public, maybe a person in the general public, that you have in circumstances that lie beneath these street opportunities, that the street gives us. You see florists and they come to the table and they sell the flowers and they are so beautiful and exotic maybe for the tourists maybe because they wear their traditional skirts and with the traditional flowers and they are all over Bucharest, yes. But just a little part of this gets to be known. Who are these beautiful women, women that stand and sell flowers? What is the story behind them? What work is this? Is it a tradition involved in this? And yes, the play, I think it has some educational, if you know mean, it doesn't, it's not didactic like blah, blah, blah, it has some history because there are some elements that the general public doesn't, isn't used of perceiving, you know, and so it's an opportunity to get to see the real people in this community, to understand them and their histories and their personal stories and there are a lot and it is a long tradition of florists here in Romania and they are very big and strong and beautiful community, even in these days. Absolutely. But aside from that, the play has a second outcome, so to say, because it addresses the realities of the days, of our days, because okay, it was a beautiful history and maybe a hurtful history that we still have to get along with because it involved also the exploitation in Roma and how they haven't, it was a means of surviving for them, this job of selling flowers. So yes, we put a little bit of history into it, but we also make a record to the realities of these days and the realities of these days are not as beautiful as you may think, you know, because the social part of it, the way that society evolves, maybe doesn't give such a good chance to this community, you know. Yes, yes. And I think it's quite powerful to see, you know, that you're using the work in this as a platform to educate, to offer insights into the reality, the current reality and also holding up a mirror for the community to see themselves on stage, you know. I think this is very important and it's lacking in a lot of communities, the self-representation part is not existent. Yes. And of course, we are talking people that, look, when we first made it, when we first launched the play, it was in a beautiful play in theater venue in Bucharest called the Jewish State Theater, because you see the Jewish community here in Bucharest has a beautiful theater with more than 100 years history and the Roma Theater of course doesn't have a venue for itself and we got to see the big and beautiful, how do you say, the room, the space. Yeah, the space with the stage and 400 people and we had to hold on the beginning to get more people in and it was like 400 persons in 300, it was before the COVID era and back then regulations were more relaxed but it was formidable for me to see so many of them, the florist ladies and their families and their friends and it was all a Roma field with a beautiful venue filled with Roma, filled with female florists and it was really, really, really, I don't know how to say, beautiful. Yes. So there is, what I mean is that there is an interest to see these kind of representations because it involved Roma people on stage and it involved a lot of beautiful music that was done on stage and with live music with seven musicians and three actors and it was really, really, really, very emotional and very powerful to the whole community. Even if for, maybe like for a lot of them, it was maybe the first time when they got to actually enter a theater venue, you know. Yes, yes. This makes people see themselves represented on stage and gives a lot and a lot of power to them. Yes. It's a story they can tell to their kids and get to see the show another time and the kids will get to see the show another time and this is really beautiful because it keeps traditions alive, it keeps a whole community involved and in touch and being empowered and represented. And is there something else about the show that you would like us to know or that feels like a memorable moment or that you think maybe we might not know about? So maybe some background story of some part of it? Well, it was, as I mentioned already, it was the night of the premiere. And after the night of the premiere, we had to stop the entry because the venue was full, full, full. There were way too many people and it was done late with half an hour and it was getting really, people really wanted it to start already. So the next day, 10 a.m. in the morning, we had another representation, a full live representation in the flower market itself at the George Kosh Book Square. Yeah. And it was, that place no longer exists because it's been demolished in 2020 during the pandemics. Yes. They used the pandemic context to shovel the place and to destroy it completely and now they are changed across the city in another location. It's not historical, but this historical place, the flower market, that got to see the whole performance done right there at the place. And it was a totally different energy, but the place really stood out very good and in public and very powerful because of the music. And it wasn't so festive. People were at work actually there. But it was also very, very, very emotional for me as an actor and for them with a lot of applause and people were filming. Yeah. This is one moment I totally recall, but now what's most important to mention is that this year, in about 10 days here in Bucharest is going to start the first Roma International Theatre Festival in Bucharest, which Art Hub is proudly organizing. And the Bambina Queen of Flowers is also included in the first edition of this festival because this edition I think will sum up some of the most important plays, Roma Theatre plays that have been done along the years here. And Bambina will also be, of course, it is kind of our queen. She still is our queen. Yeah, yeah, yeah. It's the flag, it's the flagship of the festival, so to say. Fantastic. Well, thank you so much for sitting down with us today and for sharing and for honoring also. I think that's a big part of our community as we honor the past, our elders, but also keep moving forward and looking at the current context. And we adapt. We're very resilient, so it is very sad that this square no longer exists. Yeah, it was a symbol for Bucharest. But unfortunately here in Bucharest, we have this thing with historical places that, ah, but let's not get there. Yes. Thank you so much for the invitation. Thank you. It's been a real pleasure talking to you. And thank you very much for the occasion of making a little bit of advertising for the festival in Bucharest also. Yes, no, thank you for everything. Thank you so much. And all the best to the festival. All the best. Thank you, thank you, thank you. Take care. Bye-bye.


Visual arts are a wonderful way to communicate the things that we can't always, and art as a communicator made sense to me. Looking back now with working with children and nurturing that language, I can see that that's been the common thread throughout. I remember having a discussion with my parents about like, what are you going to do with this art degree, and I really didn't have an answer for them except for that I knew that this is what I was the most passionate about. And the great thing about going to art school is that you're around these self-starters, and so you really have to be motivated to get, if you want to get your work out there or your ideas out there, you have to find a clever way to do so. I'm Erin Bonifero, and I run this store called Collage Collage. Collage Collage is the best place in the world because it's a place where art and storytelling and making can all come together. So this space is a little bit bookstore, it's a little bit workshop, it's a little bit toy store. It is an invitation to get creative. We use a storybook, and then that storybook acts as a catalyst for the class, and then the children are led through some prompters to make a picture based on that. So it sounds really simple, but the sweet thing is they really start to see themselves as makers and doers. If you want to go out into the world and make this your profession, you have to know what you're all about. Art school sort of makes it so you can carve out that place for you, and that was a big part of it. So there it was, Emily Carr gave me that community to draw from, gave me the drive, and gave me the language to put this whole thing together. Being at school and using that highly conceptual language, and now I make sock puppets, like how did I get from one to the other, how far away they feel? I thought about that some more, and they're actually not that far away at all, and I really needed one to get to the other. So I like that I have a store that has a book about Baldissari and sparkly pom-poms, because I think that the challenge of relating those two things kind of speaks to what this place is all about. This isn't just a hobby, this is really a career that I've built for myself, and I hope to see it continue to succeed.


It's very important because it comes upon a recent decision of our Standing Committee on Copyright, taken some two weeks ago, to agree to convene or to recommend to our governing body to convene a diplomatic conference to conclude a Treaty on Audiovisual Performances, the Actors' Rights, if you like internationally, to complete the international legal framework in the intellectual property area so as to cover the performances in audiovisual media of Actors. We are hoping that this Treaty will contribute to making a more comprehensive legal framework by including Actors' Rights or Rights in Audiovisual Performances within the international legal regime. And up until now they are not in that, and that means that there is unevenness across the world and in many countries, Audiovisual Performances of Actors are not recognised as Rights. So one of the things we hope the Treaty will do is to establish that basic legal framework across the world. Actors, nowadays, are the only ones who are not remunerated, can you say that? As directors, as screenwriters, as musicians are, which is kind of weird because as we all know, if I play a character, it's going to be totally different than the character that somebody else is going to play, and it can be the same page, the same dialogue, the same director, but we bring something else. So we are authors in a sense. And this doesn't have anything to do with giving ourselves self-importance at all. It's about trying to find what is right for everybody, and especially in my occasion here, to try to find what is right for the Actors. That's what I can answer.


I've never even thought about touching your nipple. Why do you do it to mine all the time? I didn't. I touched it with a remote. I would never. Drag to Deviants. I'm Corbin. I'm Rick and you could follow us on Instagram and Twitter. Juicy content. It's so juicy. I just know it's gonna be dripping. Is it women? I know. Now listen, before you start making assumptions about what I meant, the last fight scene that we did, I was like, where are the women warriors, man? Every fight scene we've seen are dudes.   I want to see some stunt women. I know a stunt woman who does great stunt work. And I just want to see an all-out warrior fight with two warrior women. But we're not getting it here, are we? No, not here. But this is a... Aravinda Summit film. And it's called the first fight scene, the intro fight scene. The intro fight scene of the film, I suppose. Something like that. So what is this? What region are we talking about here? I believe it's somewhere south. I don't know in particular where it's from. But I could be wrong. I'll look it up after. If it's not, blame Rick. That's true. Here we go. Well, yeah, it's just his first fight scene. And the audio behind it. Yeah, which I think is kind of the commonality of stuff that would be in an action film. Because in case you have to do Kansas anymore, that rock through the windshield would be fantastic. And then that next, the first real sequence with multiple people when he's getting out of the car, captured there was at least 15 or 16 in that frame. They had or how long they took to... Right. The fight scene itself was really entertaining. And fight scenes really are. We said at the beginning, why do we do fight scenes? A fight scene in and of itself is a standalone piece of art. The work that has to happen for the staging of it, the work of the stunt people, the camera crew, it's a completely different element than any other segment of the film. And it requires, at every level, the editing, the score, this was great. This was so entertaining. It's crazy how, along with a lot of other stuff we didn't know about India, the amount of great fight scenes that they come up with. And interesting fight scenes. It's comfortable, because also China, when they put out films, they have some really good, but it's like martial arts. Yeah. And in America, we expect from that part of Asia, from either China or Japan, because they've had so many martial arts focused films, we expect them to give action films with fight sequences because in America, obviously the biggest name that ever was Bruce Lee. And he brought that whole genre into the consciousness of America. For the other part of Asia, this little place called India, we had no idea you guys were so good at everything. Yeah. At everything. Yeah. But especially in this regard, because we've seen some fight scenes and some action sequences that were, like, on par with anything we've seen coming from some of the big juggernaut things from Hollywood, like the Marvel action sequences. Yeah, we don't get stuff like this because our films are more usually not all the time based to more in reality unless you're talking, like, the Fast and Furious franchise, of course, that aren't based in reality. Right. Or it's hyper-stylized. And yes, I'm gonna say the name of this film, Three Frickin' Hundred. Don't say it, Rick. Really, I don't understand why so many people get bent out of shape if we make a comparison to 300 because any time a film uses slow motion in the killing of someone in a shot that's sideways, that became popular with Zack Snyder's shooting of Leonidas fighting in 300, you can't not make the comparison to that in a fight scene. Oh, they hate it. And it's groundbreaking. And I don't know, it's a compliment. It's a compliment. We're not saying the film is that. No. We're saying it reminds us of it. In the best of lights. We're not saying it's even trying to be it. No. It's reminiscent of, because I remember when seeing it, I said to people when they saw to see 300, I said, it's gonna be the most beautiful decapitations you've ever seen in your life. It was like ballet. And I'd never seen a fight sequence or an action sequence done that looked like a work of art. And that's what I mean by that. When any time a fight sequence looks more than a fight sequence, it looks like a work of art. It reminds me of the first work of art fight scene I ever saw, which was the stuff coming out in 300. Granted, we are Westernized and Americanized. You guys have probably been doing it before. We're not saying that it didn't happen prior to that. Just saying it's a high compliment, because the stylization of a fight scene that turns it into artistry that looks poetic. It's amazing. And we really don't, we don't get a lot of that. That's why 300 was so groundbreaking, because it's really rooted in realism of stunt work here. Being real. Yeah. And a lot of fight scenes we get are more realistic. Right. They're not believable, but they try to be, like, you could believe it. You could believe it. Every fight scene we ever do, there's always some comments in there about Indian filmmakers and the laws of physics. They don't like to go together. Especially in South India, the main person is more of a God type character. Right. Exactly. A lot of times, not all the time. No. But that's why they can do a lot of the stuff they can do. Right. It's just something you need to understand. But I thought this was a great one. It was one of my favorites. Me too. Especially stylistic-wise, the film looked good, acting looked good, and they had a bunch of epic chopping off your arms and rock smashing. Right off the bat. Bullets on the face. Yeah, great, great. So that was great. If there were more fight scenes, if there were women in it, let us know. Yeah, come on. Where's the ladies?