And we're live. Hi, I'm Asa Greenwood, a scientist at MIT Media Lab, and I'll be teaching the computational law course at MIT for our winter session next week. And with us today by express invitation, I'm delighted to introduce Bill Rosenblatt, who is truly an expert in DRM and in rights expressions languages. We met at the Open Music Initiative, got to talking about computational contracts and licensing and the essence of how to express legal terms in a way that's machine-readable and processable. And honestly, I was so impressed and also found the topic so very, very timely and relevant to the course that I asked if you'd be willing to give us a guest lecture. And you kindly agreed. So thank you, Bill. And I appreciate your diligence in putting the slides together to really conform them to the topics in our class this year as well. And if you'd be so kind as to maybe introduce yourself with a little more background, and then we can dig right into your presentation. Great. Well, first of all, can you hear me all right? Yep, your audio is good. OK, great. So, Asa, thank you so much for inviting me to do this. It's a real pleasure. It's been a pleasure to get to know you and your very, very interesting program at MIT. I'm someone who turned down MIT as my undergrad institution. So it's a little bit of shame, I suppose, or come up that I'm doing this. But in any case, my name is Bill Rosenblatt as you mentioned. And I am, let's go to, it'll explain a little bit of my background on the first slide. So I'm just going to go right to that, just waiting for it to come up. Or did I, ah, OK, let's, there we go. OK, I hit Share and nothing is happening. And my browser is hung. OK, well, we can just give it a moment. Hangout on there is great in terms of the price it can't be beat, it's free. But sometimes it can be a little bit laggy. So this is not laggy. The app's frozen. I'm getting the blue circle of death and the window is grayed out. OK, let me take a quick look. We're actually in the same office right now. Just one sec. I'm trying to killing it. Where's the hangout? Oh, I see. Weird. OK, well, you're still online. Yeah, I wanted to maybe take a look and come back in. And we're really back in. So you can see we're, ah, OK, but you're back, Bill. And do you want to give the screen share or try? OK, looks good. I can see your presentation. Yep, I can see your presentation. Oh, wait. OK, so we're looking at the presentation. And the title of my presentation is Rights, Expression, Languages, or Copyright Law, Rumbles with Technology in a Dark Alley. This picture here is from the Broadway show West Side Story. The two gangs, the two rival gangs, meet in the back alley and have a gang fight. So just to give you a little bit more about my background, I am a consultant. I've run my firm, Giant Steps Media Technology Strategies since the year 2000. My background is in computer science and software engineering. Professionally, I've been an IT executive in the publishing and media industry. I have been a technology market strategy guy for Sun Microsystems. And I've also been a book editor, a book author, and a radio producer for a period of several years. And I wrote a book on DRM back in the year 2001, which introduced me to copyright law in addition to other activities that I was doing in the publishing industry where publishing industry was trying to get to grips with this thing called the internet that was coming down and was going to destroy everyone's business and so on. I've run a conference called Copyright and Technology, which actually is taking place next week in New York. And I've spoken on this subject matter at the World Economic Forum in Davos. I've guest lectured at various places, Columbia, Carnegie Mellon, NYU, and so on. And I've been an expert witness in various copyright and patent litigations that have to do with copyright in the digital age, digital media technologies, things of that sort. So basically, I'm not a lawyer, but I play one on TV sometimes. So what I'd like to do is start with something. I'm sorry, interrupt. For some reason, we're getting a little, oh, there we go. OK, no, we're good. I just want to make sure that your slides were showing and they're good now. Please continue. OK, so I wanted to start by mentioning a theory that Larry Lessig brought up in his first book, Code and Other Laws of Cyberspace, which is really a book that I think a lot of the people taking this class are going to be familiar with or at least have seen. And I think it's an extremely important book, regardless of what your views are on copyright in the digital age. And one of the things that I think was great about this book is that he characterized these four forces of regulation. And that's when you're talking about the online world or the tech world or you're talking about the real world. There are these four forces that each contribute to the way the world operates and is governed or regulated. And those four forces are the law, which is laws, as we know them. The market, which is just the way businesses behave, the way economics behaves. Architecture, which is the technology or physical aspects of the realm that you're looking at regulating or not regulating, as the case may be. And then norms, which are behaviors, what we're used to doing as humans and what we think is acceptable versus not acceptable. And as we have learned, these four factors differ greatly between the real world and cyberspace, or what used to be called cyberspace back in 1999 when Lessig wrote this book. And the idea of rights expression languages is really to try to, in some sense, bridge the gap between these two worlds and to readjust the balance among these four forces of regulation. And this may sound hazy right now, but hopefully it will be clearer as we go on here. So we're talking about rights expression languages which are in the realm of copyright. And so I thought for those of you who aren't already familiar, it would be useful to go over the basics of what rights are given to creators of copyrighted works under U.S. copyright law. And of course, this is all a U.S.-based presentation. Your mileage may vary outside the U.S. So there is the U.S. copyright law and it accords to the creator of a work, what we call a bundle of rights. And one of them is, in fact, it's so fundamental that many people ignore it, section 101 of the Copyright Act mentions that a work is a material object. So these rights apply to material objects. They do not apply to tiles or bits that fly around the internet and are independent of the medium that they may be stored on at any given time. And we'll talk a little bit about that more later. So then the copyright owner has exclusive rights. The right of reproduction, which is making copies, the right of distribution, which is sending those copies to someone else or sending the original copy to someone else. Creation of derivative works, which are things like film adaptations of books or things of that nature, edits of photographs, excerpts of written works and so on. Public display and public performance, depending on the type of work it is, also a copyrighter and exclusive right. And then recently there was an addition made to the Copyright Act, which according to certain additional rights for certain types of visual works, such as sculptures, paintings and limited edition photographs. The right to have the work properly attributed to the creator and what we call a moral right, which is the right to prevent reputational harm by damage or mutilation to the work or of the work. And then there's something that isn't a right per se, it's a limitation on rights.  And the entity that gave it to you, whether it's a publisher, retailer, friend, relative, whatever has no further control over that. So if you wanna resell it, you can resell it. If you wanna lend it, you can lend it. If you wanna bequeath it to your heirs, you can do that. That's a limitation on exclusive rights and copyright law. Paranthetically, there are classes of software to which it does not apply. Okay, so once we have these exclusive rights, we can also talk about how others can use content that you have created. Of course, if I obtain a piece of content, I can use it personally. That's the normal thing. I can license rights from the copyright owner that is rights beyond the ones that I would get normally. And the mechanism for doing that is normally a contract. And then there is something else called fair use, section 107 of the Copyright Act, which is really a defense to an allegation of infringement. It's your accuser of infringing my copyright. You say, no, I made a fair use of it and you explain in a court why you think you made a fair use of the work. It's really understood mostly as a defense to an allegation of infringement, although there was one recent appeals court decision in the so-called dancing baby case where they're starting to look at it more as an affirmative right, rather than as what we call an affirmative defense. And there's a whole bunch of stuff that I could talk about here. There are people who are far more expert in fair use law than I am, but the main thing that we need to understand here is that fair use is not decided by a machine or automated process. And I like to refer people to a seminal law review article from Pierre Laval, who is now a second circuit appeals court judge, the article was called toward a fair use standard. It's there in the footnotes, you can look it up. And the sort of money quote from that article is, we should not adopt a bright line standard unless it were a good one and we do not have a good one. So bear that in mind as we keep going. So what's a rights expression language? It is a machine readable description of rights that relate to the use of a copyrighted work. The idea of a rights expression language is to make rights and licenses understandable and actionable at internet speed as opposed to falling into what I call the trap door into the legal system, meaning hiring a lawyer to explain what rights you may or may not have and then perhaps taking a risk on exercising those rights and so on. And rights expression languages have two bubbles that are distinct yet overlapping. And we're gonna talk about each of those. One is to enforce rights and to act as part of a rights enforcement mechanism. And then the second is just to automate a licensing process for the sake of convenience and automation. Okay, so let's first talk about right rails rights expression languages for rights enforcement. And we are, of course, talking about DRM, Digital Rights Management, which is the field that I got into right at the beginning pretty much. Mark Stefik is one of the handful of people who can be said to have invented this field back in the mid-90s. And he walked into my office one day with his colleagues at Xerox. They were looking to commercialize technology that they had developed. And one of the things that he gave to me was the thing that it says in the second bullet point of this slide, a white paper called Letting Loose the Light, Igniting Commerce and Electronic Publication. This was written in 1995, originally just an internal Xerox PARC document, but it was published subsequently in a book called Internet Dreams where Mark Stefik was the editor. And this is sort of his one or perhaps one of a couple of chapters that he contributed to the book, a very interesting book published by the home team, MIT Press in 1996. He also took out a bunch of patents, the one relevant one of which is this patent that we call the 403 patent system for controlling the distribution and use of digital works having attached usage rights where the usage rights are defined by usage rights grammar. So what that basically means is a DRN system that uses a rights expression language. That's pretty much what that patent is said to cover. He wrote, he designed a rights language called Digital Property Rights Language, DPRL. And it was based on LISP. LISP, as many of you may know, was the Seminole Artificial Intelligence Language and Stefik has an AI background. In fact, I was familiar with some of his AI work that he did as a grad student at Stanford before he joined a part. So Xerox took this and attempted to commercialize it as a product called Content Guard, which was a DRM system. And in 1999, when I was at a publishing company, we were looking to perhaps adopt a DRM system and this is one of the products we looked at. So going to the next slide, this technology morphed into something called XRML, the Extensible Rights Markup Language. So these names are all based on XRML, which came out around 1997, 1998 timeframe as the sort of standard way of marking up data, structured data and structured content. It's one of the most influential technical standards in the modern era. And Xerox decided to glom on to XRML and recast DPRL as an XML derived language called XRML. And first they just released version two of DPRL and based it on XRML instead of Lisp, then they renamed it XRML as an expansion of DPRL 2.0. And for several years, they tried to sell this DRM system to cultures and record companies and whatnot. And it didn't really succeed commercially. So they dropped their products in 2002 to focus on licensing their portfolio of patents. I'm not going to go through this entire slide. You can read it later if you're interested in the history of this, but they submitted XRML to MPEG, which had a standards initiative in this space. And what MPEG ended up doing was adopting a variation on XRML as an MPEG standard, which went nowhere. No one really uses the standard. Hello? Without that, please continue. Keep going? Okay. So XRML was a big deal in the mid 2000s, but no one really used it for anything except Microsoft, which along with Time Warner became a part owner of Content Guard, which is why I call this the establishment rel. It's Xerox Time Warner Content Guard in a French company called Thompson that were the owners of this company. They subsequently sold it to a company called Pendrell, which is a patent licensing company. And that's kind of the end of its relevance, other than if you use certain Microsoft products where they use XRML for license management. So this is just some example code that I found in XRML that shows that you're paying $15. And for that, you get the right to play or view an ebook and the right to print it. So you can dig into the details. It's actually pretty self-explanatory if you're comfortable reading XML. So then we come to the other important rights language, which I call the Indie rights expression language, which is ODRL, Open Digital Rights Language. It was created a few years after DPRL and XRML, created in the early 2000s. And the primary creator of it was a guy in Australia called Renato Iannella, who worked for a system integrator called IPR Systems. And his number one collaborator was an Austrian professor at an Austrian business school named Susanna Gutt. So it's Austria and Australia. And they advanced this thing independently of any companies or standards bodies. They were kind of like the Indies. And they achieved a big success commercially in the early 2000s when ODRL, or a subset thereof, was used in a standard DRM for mobile telephone music services in Europe. So there's something called the Open Mobile Alliance, which is a mobile industry standards body. They adopted a subset of ODRL as a standard for creating mobile digital music services, digital content services in Europe. In the US, however, this failed to catch on because the US, as you know, is more litigious than anywhere else on earth.  And everyone's afraid of getting nailed or sued for alleged infringement of those patents. And so there was a lot of caution around it. And as a result, momentum over the OMA DRM standard died down and ODRL sort of went into a dormancy state. So I'll hold that thought, we'll pick that up later. Okay, and Bill, here's just the information about ODRL and how it was designed. It was basically designed on the idea of permissions that can be assigned. If you look at this diagram from left to right, I've gone to the next slide. Daza, I'm not sure what to... Yep, I don't see that you're on the next slide. You bet. I would just say, I apologize, we're having some trouble with the presentation from your screen. What do you need to do to get to the next slide? So is that... You're on the next slide, okay, got it. Okay, good. And if you could just leave, let me know when to advance the slide. You see, this slide is taken directly from the ODRL documentation. You've got usages, display, print, play, execute. You have derivative work rights, if you will, excerpt, annotate, aggregate, modify. You've got transfer rights, which are your exhaustion rights or non-exhaustion rights, perhaps cell, lend, give, and lease. And then you have the distribution rights, which are things like move, duplicate, backup, delete, et cetera. So that's ODRL of 1.1, and that's where that was in the early to mid 2000s. So there were a couple other DRM related or enforcement related rights expression languages. One was from Real Networks, which back in the day was a serious invader in the streaming media space and a serious rival to Microsoft, which Microsoft eventually vanquished in competition. And they had their own DRM called Helix DRM for audio and video. And then the other important one, which still exists now is a EBX electronic book exchange, which was created by a startup called Glassbook that was acquired by Adobe. And it became part of Adobe's ebook ecosystem, which they call Adobe Content Server. And in the US, the primary two users of that technology are Barnes & Noble for their noob system. And if you've ever borrowed an ebook, quote, quote, borrowed, unquote, an ebook from a public library, you'd probably use a system called Overdrive, which also uses that technology. And it's also a very wide use in Europe, Asia, all over the world, still very much a going concern. Okay, so now we're gonna switch gears and talk about the other objective of rights expression languages, which is to automate licensing, simply to rely on legal system for enforcement of the licensed terms, if any enforcement, not on technological enforcement means, but simply using rights expressions as a means of automating licensing. And therefore, the primary ability for this type of rights language is in the B2B area, where you're not trying to issue licenses for random consumers, but to business partners, read distributors and aggregators, and that's the port and so on. I would say the analog to Mark Steffick's work in Xerox Park and his paper, Letting Loose the Light, is a professor at Villanueva Law School named Henry Parran who published a paper called Permission Headers and Contract Law, at a conference that took place at Harvard at the School in 1993. This conference called Technological Strategies for Protecting Intellectual Property in the Networked Multimedia Environment. But this is 1993 and they didn't say internet yet. So they had to say Networked Multimedia Environment. This is actually a very, very seminal conference. It's probably the most seminal conference in this field and the proceedings are still available online miraculously. You don't have to go to the internet archive to get them. Most of the papers in these proceedings are fascinating reads, if you're a nerd about this stuff like I am. So Henry Parran wrote this paper about how you can use machine readable headers in contracts to automate licensing. And that was the first appearance of this type of idea, even though he didn't implement anything, he didn't follow lies that he just wrote about the idea and how it worked legally and so on. And Parran was actually an MIT man. He had undergrad engineering and a Sloan MBA from MIT. Then there was a standard or purported standard called the Information and Content Exchange or ICE standard in 1998, which was led by a company that was well known at the time as a content management technology company called In Yet.  It was kind of an over-engineered, overly baroque standard. And their RSS came about at the same time as a much simpler equivalent. And RSS became huge where as ICE kind of faded into obscurity, the ICE idea was related to this vogue, then in vogue concept of content syndication, which was, you know, I'm Connie Nass and I'm going to set out these articles that people will pay 50 cents a piece for. And I'm just gonna rank in the cash because so many people will be interested in these piecemeal articles and photos, but that didn't work for a number of reasons. And so ICE was about automating that type of scheme and it kind of faded. So to talk more, so now we're gonna talk more about this type of rights language, which is arguably the most important application of rights languages. But first I'm gonna talk about creative comments. So creative comments is something that I'm sure you've heard about, you may be very familiar with, but for those of you who are not as familiar, it is a concept that was formed by Larry Lessig and a group of others, including Hal Abelson and MIT in the early 2000s. And the idea was this notion that copyright had gone too far in terms of the rights afforded to the creator. And compared to what copyright started out as when it's beginning in the United States. And they wanted to kind of roll back and rebalance copyright and give more rights to the user, less rights to the creator. And so the motto of creative comments is some rights reserved, you've heard the phrase all rights reserved, this is some rights reserved. The idea is to give the licensee more rights than the licensee would have through the copyright bundle in the copyright law. And if you're talking about the applicability, creative comments apply to any content at all physical or digital. But the idea is that you're, that it's assuming it's based on an assumption that the copyright bundle applies to piles of bits which isn't really true, but it's a useful, it's a useful assumption to make and it's not like the system breaks because it's not true. System is based on real law. And there are people who are more qualified to talk about the new ones than I am, but it is important to feel to emphasize that piles of bits unattached to any physical storage medium are not covered under copyright law. So, creative comments is a set of licenses and the licenses take the forms of legal text and machine readable code that you can put in your files. And if you're a creator and you want to provide a copyright, a creative comments license as I do for most of what I write, you get to choose a few attributes of your license. One is the attribution attribute which basically means you're requiring if you set that to yes or on and then you're requiring the licensee to attribute the word to you. There's something called share alike which means that you're requiring the licensee to offer the same rights that you are offering. Uncommercial means you're going to forget the commercial use of your content without your additional permission. And then the no derivative works attribute is whether you're going to allow people to modify or adapt the work or whether you're going to require them to redistribute it as his state. So that's creative comments. And the way creative comments was originally designed was that the machine readable piece of the license would be in comments in the HTML of a webpage. And Halle Abelson and others set out to improve that in around 2008. The idea was to make creative comments, license terms, more machine readable by using technology such as RDF which is an XML technology for essentially assigning semantics to content to structured metadata which indicates semantics content. Number of different formal taxes for expressing RDF and I leave that as an exercise to the reader as they say, I'm not going to go over that but there are a few different ways that the creative comments rights expression language can be expressed syntactically. And there's also a standard for multimedia files from Adobe called XMP which is basically a standard set of header made of data that you can put in your photos, your illustrations, your movies, et cetera, et cetera. And they provide the syntax for CC rel and that's usable in the Adobe XMP system. So just to be crystal clear about this, the idea of CC rel was not to turn creative comments into a rights enforcement DRM game. It was really meant to improve machine readability of creative comments, comments licenses and eliminate redundancy and hearing to what we call the dry principle don't repeat yourself principle. This is that much interest in CC rel nowadays. I feel there should be more interest in it. It's a beautiful piece of work. There's some sample code which basically says that this photo that's on Flickr has a creative comments attribution non-commercial license and the derivatives license. So if you look at this page here, the second page of the sample code, it says buy-nc-nd which is the attribution non-commercial and part of the machine readable piece of this is on towards the bottom of the second page where it says how you are supposed to refer to the creator in your attribution. It's this URL laughingsquid.com and the name of the photographer is Scott Biel slash laughingsquid. Okay, so that's a sample piece of code of CC rel. Moving on, another probably the most important rights language today for license automation is something called ODRL 2.x. So last, when we last saw ODRL, it was version 1.1. I think 1. something, it was the mid 2000s and it had faded into obscurity as people grew nervous about the patent scene and DRM was sort of becoming less used and certainly in a music space, it was being phased out. Now it's 2011 and Renato, you know, it comes back and he submits ODRL, he revamps ODRL version 2 of it and submits it to the worldwide web consortium with a view to it being used for license automation as part of something that he called the permissions and obligations working or PLE permissions and obligations, expressions. So he was very, very adamant to point out this is not about DRM, this has nothing to do with any patents that talk about the use of DRM with the rights language. This is just about expressing machine readable permissions and obligations. And about a year ago, almost a year ago, the W3C advanced that to recommendation which means it's an official W3C standard. So ODRL is now an official W3C standard and there is a certain profile of it, meaning like a subset or an application of it in the news industry where the main standards body is IPTC, which I believe stands for International Press Telecommunications Council called Wright's ML. So Wright's ML, first of all, this is a sort of roughly equivalent diagram to the diagram I showed previously about ODRL 1.1. This is the ODRL 2.2 information model and it shows you that you've got assets, you've got parties that are looking for rights to those assets. Excuse me. You have rules that describe permissions and duties and prohibitions. And you can sort of look at this and get an idea of how ODRL works. And then again, I've included a couple of pieces of example code. This is JSON code. And this first example is you can only play this movie in Germany after 2018. And you can look at this code in more detail later. Here's another one that says you can distribute this movie but only over a mobile network as opposed to a home broadband or what have you. So Wright's ML is in use today by the Associated Press and its affiliates, among others. And there's a Wright's ML website which has got some very nice sample code. This is one of the samples. This is similar to what the ODRL example that I showed. This picture can be displayed by the European Publishing Association licensee within Germany. And here we show it as a Wright's ML data structure template which is just a vanilla way of showing things like what permissions are being assigned, who is assigning them, to whom there's an assigner or a signee. What permission is it? It's the action of distribution. What are the constraints on the distribution? Spatial constraint that is Germany, D-E-U being a code for Germany. And then on the next slide we show the same example code in JSON. And they also offer it in XML-RDF, various flavors of XML-RDF. Oh, I want to back up and mention, let's see, where did I put this? Sorry, in the footnotes of the ODRL slide, a few slides ago, it mentions a slide share presentation from Stuart Miles of the Associated Press, which in my view is the best presentation I've ever seen on the practical use of a Wright's language for license automation. It shows you the practical value of it, how the Associated Press is really using this thing. And it's very, very informative. We want to take a look at that. So now we're talking about, we're on slides, whatever number this is. Wright, here are a few other examples of license automation and Wright's expression languages that are in use. One is the picture licensing universal system or plus Wright's language. This is a perfect example of reverse engineered acronym in the license image community, the stock image community. Prism, which is a standard that has to do with content that's nominally in the consumer magazine world, has a Wright's language. Prism is another reverse engineered acronym that I can't even remember what it stands for, publishing requirements for industry standard metadata. There you go. Metz Wright is a library world standard from the world government and academic libraries for communicating Wright's information about content among libraries. And then probably the most recent one is OxPL permissions language, which has to do with an onyx as a set of metadata for books, including physical books. And in fact, started out as a physical book metadata standard for things like how big is this book, how many come in a box, how many pages does it have and so on. And there are footnotes here with the URLs for all of these standards if you'd like to take a look at them. So let's step back a bit and talk about the relationships among these various things that we've been talking about. Wright's expression language is ERM licenses and copyright. And there's a lot that can be said about this, but here are a few points that I'd like to make that I'd like everyone to think about. Maybe we can discuss some of these things when we meet next week. Licenses are of course contracts. They are legally enforced rights and restrictions. ERM is a technologically enforced rights and restriction mechanism. The purpose of a RHEL is to enable precision in describing rights in both licenses and ERM systems. And RHELs can encode licenses that confer more rights than you get in a copyright bundle that's the basic idea of Creative Commons. What additional rights would you like to offer to the public besides what the copyright law tells you? They can also be used to describe licenses that confer less or more restrictive rights than copyright. And if you were to look at most end user license agreements for things like Amazon, Apple, whatnot, that will be the case. If you were to encode those EULA terms in a RHEL, they would be more restrictive than what we're typically. There are exceptions, but in general, these EULAs are more restrictive than what you would get with copyright if they have to do with content. And then once again, if we're talking about pure digital content that is not attached to a storage medium like a DVD, CD, some drive, et cetera, then copyright doesn't really apply. It's all about licensing. And this was just affirmed very recently in an appeals court decision written by none other than Judge Pierre Laval of the Second Circuit Transformative Use that involved a startup called BDG located across the river in the Prudential Center in Boston that was trying to build a marketplace for used digital music files. Fascinating subject, which I'd be delighted to discuss offline, very interesting case, very interesting startup and so on. And then the final thing that I'd like to mention in terms of what do these things have to do with each other, RELs, DRMs, licenses and copyright. You can have a REL and you can use it with a DRM but it won't make DRM capable of emulating copyright rights. It just, people talk about how RELs, sorry, about how DRMs are restrictive compared to copyright. I prefer to say that they're just not capable of emulating copyright with any degree of precision. And I'd like to amplify that point by talking about something that really didn't get enough notoriety in my opinion, something called the Digital Media Project was a standards initiative that was started in 2003 by a man named Leonardo Carri-Leone who is the founder of MPEG. So this is someone who has a great deal of experience in the tech standards area. He was trying to create an open interoperable DRM standard that respected and emulated real-world content usages including copyright law and all of its ramifications in multiple geographies around the world. This is an extremely, extremely ambitious project. And that's the most interesting thing to map out that project, which technically is still alive, it's kind of on low simmer. So something that they tried to do called traditional rights and usages or TRUs and this is actually a link which I'm not gonna show you now, but Dazza will have the URL and can share it. They did an exhaustive or maybe not exhaustive but prodigious amount of work in trying to describe precisely various different traditional rights and usages around content in different geographies around the world including fair use, fair dealing and things of that nature to try to catalog these and be able to represent them in machine readable ways. This would have been a very, very interesting project if explored to its limits, whatever they may have turned out to be, but it was never really completed. Anyway, that just sort of shows you what the limitations are with regard to Rails and the real world. I want to finish this talk by tying this to the Music Modernization Act, which we're hovering in this course and talk about rights expression languages could relate to the areas around Music Modernization Act. So I'm going to go over some material which is probably redundant to what other people are talking about, people like Kiki Nelton, George Howard and so on, but at the risk of repeating these people, I'll give you at least my version of the background of the Music Modernization Act. So there is a section of the copyright act called section 115, which establishes a compulsory license for something called composition mechanicals. I think I have skipped a slide. Sorry, yes, we're going to go back and talk about music rights and services. Yes, this little, sorry, I skipped that one. So in order to understand the Music Modernization Act, we need to understand a little bit about the basics of copyrighted music. And once again, other presenters may go over this. So at the risk of being repetitive, I'm going to go over this. Every music recording has two copyrights. There's a copyright on the composition, which you can think of as the cheat music with lyrics. And then there's the copyright on the recorded performance recorded by a performing artist or recording artist. And when you offer, when you have a digital music service that offers digital music, you need to have licenses for both things for the compositions and the sound recordings. So today's digital music services are what we call DSPs, digital service providers. What they offer is basically three things. They offer interactive streaming. We're talking about Spotify, Apple Music, Tidal, Deezer, Rhapsody, et cetera, et cetera.  There's something called conditional downloads, also known as tether downloads, which are you can download the music to your device and play it off your device until your subscription is canceled. So that's why it's conditional. And then there are permanent downloads where a user has to pay, let's say 99 cents a track to keep the download permanently. And typically that's DRM free. It's an MP3 or an MP4 EAC file. So these services have to pay a few different royalties. And again, this is a typical case. There are exceptions. There are no constraints to this. But they have to pay reproduction and distribution royalties to record labels for sound recordings. They have to pay something called a mechanical, which is a reproduction and distribution royalty, just conventionally called a mechanical for the composition, not the recording, but the composition to the music publisher. And that is a compulsory license under section 115 of the Copyright Act, which says that anyone can make a reproduction of the composition, which normally were in older times would mean do a cover version of that composition. That's guaranteed to you by law, but you do have to pay a royalty for that. You need to fulfill certain other conditions, mainly paperwork type conditions. And then there is something called public performance royalties that you pay to, again, in the typical case, to an entity called a pro, a PRO, such as ASCAP or BMI. And there is a couple other ones in the United States. And this is very much a national scale thing. And in some cases, you'll pay directly to a music publisher instead of to the PRO in the case of a bigger publisher, such as one of the major publishers. Okay, so now we're gonna talk about the Music Modernization Act, which was just enacted recently. And the problem with section 115, the compulsory license, is that it is not also a blanket license. You have to license each composition a track at a time. And what happens is, if you're a music service like Apple Music or Spotify, you get feeds of tens of thousands of tracks per day from record companies, from companies that aggregate indie artists and so on. And for each of those, you have to go find composition that's being played, which is not obvious in some cases. And then you have to secure a license for that composition, fulfilling what amount to paperwork requirements under section 115. And that is enormous pain in the neck because not only is it a lot of just paperwork, but there's also ambiguity about what composition is, because you may not necessarily get the information about what that composition is when you get a feed from a record company. There's data floating around the industry that's old, that's incorrect, that's missing, it's actually maybe even be disputed. And this is basically a huge burden on these music service providers. And it's led to lawsuits where this hasn't been, or allegedly hasn't been done correctly. Spotify has been sued, Apple has been sued. So the legislative solution that was enacted last year was one that does essentially two things. One is that it finally implements a blanket license instead of requiring track by track licensing is something that was attempted several years ago, but it didn't pass through Congress. And then the other thing that it does which is a little bit more controversial is it creates a single agency to process these mechanical royalties for every DSP instead of each DSP doing the job itself or more typically hiring a third party agency such as the Harry Fox agency to do that for them. There's also a clause in the act that's somewhat controversial that composition rights holders can't sue DSPs anymore for alleged lack of improper licensing, but we're not gonna talk about that, but it's got little to do with rights expression languages. So the license structure isn't really affected by the Music Modernization Act, but it's worth talking about anyway because the Music Modernization Act sort of wins out the benefit and encourages development of automation mechanisms for automating these licensing requirements. So let's look at what the license is. It's some rights that the publisher is granting to a digital service provider. It's a blanket statutory mechanical license. The performance license is still necessary, but it's not affected. This is independent performance right. And so the question becomes, how do you represent that in a license, in a, sorry, in a rights expression language? And one thing that exists already that can be drawn on is something called DDEX, which is a standard, it stands for Digital Data Exchange, a music industry standard for communicating information about sound recordings that is used in cases like a record label has just released an album and they wanna tell music services about it so they send a message in this format to the music services. And part of this message's impact is a set of codes for the rights that the record label is granting to the digital music service, which include on-demand stream, conditional download, and permanent download, and a bunch of others. But those are the three relevant ones that you can take from the DDEX standard as the rights that you are dealing with in a potential rights expression language implementation of these rights for the Music Modernization Act or for mechanical licensing. So here's an interesting idea. You can think of this as possibly being governed by two systems. One is a license automation system that governs the activity between the publisher, the music publisher, which is the blue box on the left, and the DSP, which is the orange box in the center. And then that in turn will indicate what happens between the DSP and users on the right in green. So the publisher, let's say, says, I'm granting you the DSP. We'll give some examples. I'm Warner Chapel Music. I'm granting Apple Music these rights, on-demand stream, permanent download, and conditional download. Then the DSP uses those rights in another automation system, which is a DRM system. And by the way, all these DSPs now use DRM for streaming and conditional downloads to govern what happens with the user's music on the user's devices. And there'll be a right for on-demand streaming that's pretty straightforward. The problem is that for this to be automatable with the rights expression language, the idea of conditional download needs to be made more specific than it is now. Now it just says, okay, conditional download. We need to know what does that mean? Okay, that means download how many times? Download until when? Play until when? Play how many times? You need to make that more specific in order for it to be automatable. So that's just sort of an interesting limitation on how these rights map to the real world implementations that you would want to make with the rights expression language. So I'm going to conclude by offering an exercise, which kind of ties us all together. And the exercise is to represent the Music Modernization Act relevant rights in a rights expression language type syntax. And the first one of these is the simplest, which is just to represent them as a rights ML style data structure, just to show who the entities are, who the license or licensees are, what kind of rights are being granted, what are the parameters of those rights and so on. For extra credit, you can implement it in ODRL using the syntax of your choice, JSON or one of the RDF syntaxes. And then for really extra credit, and this would be an industry needle moving kind of thing, represent all rights for interactive music DSPs as an ODRL profile. In other words, do what rights ML has done for the news industry for music. DDEX doesn't get us there. It's not really a rights expression language, even though it has some rights, metadata and code is included. A very viable basis for communicating rights among business entities in the music industry would be to take an ODRL, to take and create an ODRL profile for music rights. So that's your extra extra credit exercise created that covers streaming conditional downloads, permanent downloads, and then all the composition and sound recording rights that you require for these digital music services. So with that, I'm done. And I would like to say thank you very much for your attention and thank you very, very much to DASA for inviting me to do this because this is clearly a topic that's near and dear to my heart and I like talking about it and I hope that you enjoy learning about it. Well, thank you, Bill. That was extraordinary. Little technical snafus in the beginning with your presentation. So I... DASA, if you are talking, I can't hear you. And advance the slides. The slides are, of course, available on your session page. Can I just ask, Bill, as the students come up with their takes on the exercise, would you be willing to kind of give a little bit of feedback as we get toward the class so we can start with a bang? Absolutely. Okay, so then we'll take responsibility to package those up and share them with you. And I really look forward to hosting you in person at MIT on the first day of our computational law course this year, which is Tuesday, January 15th. And everybody out there in internet land would give a big round of applause for Bill doing the first proper academic presentation I'm familiar with, anyway, on rights expression languages in this context. It's much needed, overdue, and I'm very grateful for it. Thank you. Okay, thank you.


Hey everybody it's Sam at Mixed Up Craft thank you for watching my tutorial today. I'm going to be showing you how to make this larger of my, well I called it the beautiful hexagon gift bag. I made it about six months ago I'll link it up here and that one was about that size. Really really nice but lots of people did request for me to make a larger one so I was looking through my requests list and this one was on there quite a few times so this is what we're going to do today. Very easy to do, you don't need any fancy equipment or anything, just open the top there and you can see you've got heaps of space inside. You do this with Christmas design you know have a nice Father Christmas or something there on the front or a big Ponsettia flower this would look fantastic under the tree so yeah let me show you how to make it. Okay so I've already prepared my butterfly and I've actually just put loads of glossy accents right through the center there so it's just drying so it's just a little bit cloudy in the center that will when it's completely dry be clear so I'm going to pop that one to one side. I've got my organza ribbon that I'm going to be using I've got Velcro dots here these ones are the 16mm oh look Sam why don't you look at what you wrote on the front that might help anyway I've got a corner punch optional I've got my D-rings but again I'll show you you know how you can do that really without the the metal D-rings that's the beautiful butterfly I've used this for so many things and I know lots of you do have it. It is still available I believe I know there was a big sale on Bright Rosa so I'll share the links below but I'm pretty sure it's still there and that's the butterfly band die really nice do some lovely lovely cards as well with that one and then the papers I'm using today so it's from this one here the bloom and wonder first edition the ones I used for the other one is this one here so it was the by craft sensations I picked these up in the works no sorry in the range um probably maybe now about two months ago this is watercolour feelings really lovely one you get a lot of kind of foiling throughout can you see it really nice so that's that one but yeah for today we're going to do the bloom and wonder so I've pulled out this lovely print here which is going to be to decorate the panels that one's going to be to decorate the sides because I think they work well together because it's all from the same paper pad but the actual base of the gift bag is going to be this dark navy colour so I've got the two sheets here so this one the one that I made back along is you can use your smaller you know your letter size or your a4 card stock but this one I'm going to be using 12 by 12 today so for those of you that have requested it this is how you can make it bigger so you're going to need two pieces of I think it was two I don't think I ended up cutting into them so so along the 12 inch side you want to score it three and a half and then seven and then 10 and a half and you're going to keep that section there because that becomes the front tab then pop it along the other side and you're going to score at two and a half and at nine and a half so these are our sides these are all of those side so the head sorry the side of the gift bag and then these are all the different panels that wrap around so that's one piece and then you want to do the same so actually this doesn't need to be 12 by 12 I'll trim it down in the second but you're going to do the same again so you're going to score it three and a half seven 10 and a half and then you just want to I'm going to score 11 but you actually want it to be 11 inches it's just then we've got that half an inch which is going to be our little tab so I'm just going to trim so yeah this piece will be 11 by 12 okay so that's what you will do you'll just score it three and a half seven and 10 and a half and then again along the 12 inch side here you want to score it two and a half and nine and a half because we're going to stick these two together so that tab will end up putting glue on sticking it onto this one and then the whole thing will wrap around and that piece there on that first bit is going to become this section here it's that tab or that yeah the front tab or lid whatever you want to call it so that is all of the scoring so I'm going to get rid of the scoreboard okay so first of all just fold and burnish all of these score lines okay so you'll have your piece with the larger kind of tab the flap piece there and you'll have your piece with the half inch you start with that one first but it really doesn't matter because you're going to cut them both the same so just grab my scissors I use these ones so you want to cut up all of these score lines just to the first one because these are all going to fold in on the side and then this one here I'm just going to cut up and remove that one completely okay like so so again I'll just come around this side now so I'll cut down there and then come down this side remove that one okay we're tidy all these up in a minute but you don't really need to you know usually we would take little wedges out of them you don't really need to do it on this one because everything gets hidden so with this one here you're going to do exactly the same again and then again very neatly cut down there because that's going to be your front again work down this side okay like so next we want to stick this together so we're going to put glue onto the backside of this here I'm going to use the cowl and just cover that tab and then just sit this one just make sure I don't get anything on that it's nearly dry it dries very quick that glossy accents I'll show you in a moment as well so I'm just going to lay that one down in the centre there and just flip it over just to make sure that you've got a nice join this will end up being at the back anyway as well so but just spend a minute make sure that's nice and secure okay now you want to cover all of your side panels I think it's easier to do now because we'll be adding the velcro dots in a moment so you want to obviously lay down your pattern paper first because I think by sticking this together it will help you align all of the side pieces and that will all make sense in a moment so I've said I'm going to be using this paper here so you will want it's up to you whether you want to cover the base again I'll bring this one in here so you'll see I've got some pattern paper on the bottom it does reinforce it obviously I've used the Kalau glue and if you want to put another sheet inside so you know you might be putting maybe some small bottles of something in here some toiletries they can be quite weighty so you may want to reinforce it so if you do want to cover the bottom then you'll need six pieces of the measurement I'm going to give you otherwise you'll just need five just to cover the other panels obviously so these ones here measure so what was it we've got a seven inch pieces so it's six and three quarters by three and a quarter and you'll want five or six pieces okay so this piece is going to come over there so this is going to be the front for me so I'm going to have this one so just as I was cutting them I thought this one shows that lovely pink flower there but I might actually turn it although saying that I've just had a thought the butterfly is going to cover nearly all of it so think about you know what you're going to have so actually I'm going to have this one on the top so that one like so and then I'll possibly have one of these that actually maybe hasn't got a great deal I'll do that one there and then the butterfly can go over like so and you still see the pink kind of poking out there so just kind of have a play around with your papers and your patterns just so you get to you know see the the lovely designs on them that's the bottom so I probably won't worry that one's not got a butterfly on so that can go on the bottom and so on so I'm just going to stick these all down you should have a nice little quarter inch border on all of those okay so that's all stuck down and that's you know firming up nicely so I'm now going to grab my Velcro dots and obviously if you want to cover the front of this you can do as well but because I'm having that butterfly on there and that white you know the outer white frame there just pops against the navy so that's why I've chosen to keep mine plain but I think I did cover it on the smaller version and I've done Christmas ones for that as well because it was yeah it was just before Christmas so I'm going to pop one there and one there and then I'm just going to fold that over like so and then you can just make sure they're all secure I'm also going to again it's a bit easier just round off the edges there you don't have to do that the corners sorry but um I think it looks quite nice right so you'll have this long piece so now it's just a matter of bringing it all together so again fold it and make sure you secure the Velcro dots just pop all this away okay and what we're doing is we're going to pop it on its side like this so just fold in like so it doesn't matter how it looks and you want to make sure that you have this one okay which is the top facing the top all right so it's at the top of the camera here and this is the bottom the opposite one and you're going to fold that one out the bottom one okay fold it away from you and fold the top one away that way you know that you're you know you're working on the right parts and what we're going to do is we're going to stick these ones all in like this okay now you want to use a liquid glue because you want to be able to wiggle it around until you're happy that you've got it perfect now what I would say is if you've got a grid is make sure that the bottom here stays nice and straight because that's going to help you keep everything else lined up so again I'm going to open that out and I'm just going to dab a blob of glue on here we're going to be reinforcing it with a large hexagon on this side and on the inside this is purely just to get it all into place so I'm just tacking everything kind of down just with you know a little bit of glue and just kind of like so keep this bottom one straight and keep the top one straight and you'll see you've got a little diamond that starts to form in the middle and when you bring the bottom one up so we're going to stick this down as well and if you pretend with that one there can you see you start to get like a a funny shaped kind of hexagon in the middle like a diamond kind of hexagon there you want to make sure each time so can you see that this lines up perfectly with this one so if they were longer and were to be joined up they would stick together and actually on the smaller version you do join them together your opposites but because of the size I'm making the fact that I've used the 12 by 12 you know you're going to get that gap in the middle but we're going to cover all that but as long as you make sure so for example here I'm making sure that these are lined up so you know if you want to get a ruler and that way you know that you've got your hexagon shape so you see here so I could actually bring that one just down a little bit like so you can see now that they line up with each other and again here they line up with each other they're nice and straight and then the ones underneath again you just want to keep moving it around with that liquid glue until you're happy that it all lines up and it doesn't matter if it's a little bit crooked because you're going to be drawing around your own one there isn't an exact measurement for it so even if everybody's is a little bit different it won't matter but you want to make sure you've got it you know as straight on as you can get it so I mean keep moving it don't worry if it all comes apart like mine did because I can just go in there with my fingers and just keep pinching but as long as if this lines up here all of the ones underneath will line up and you've got that kind of diamond shape in the centre there so I think I'm kind of happy with that one there the next one when you flip it to do the other side will be easy because you've already shaped this one so you've shaped your box but that is now you know you can see here these all line up that corner lines up with this corner just lay your ruler down and again here like so okay so now I can flip it over open up these ones again keep the lid at the top you can also go in if you need to and just tap down any little bits of glue you might have there so again leave the bottom one down and the top one and you're going to bring in these four sides and again I'm just going to pop a little bit of glue it's just something for it to kind of grab on to I think that's enough there and I'll put a little bit on that one there it doesn't matter which one goes over which you kind of want them to start to grab a little bit and again just line up this one but see it's already falling into shape so they line up perfectly so you don't need to do as much with this one so it's just a little bit of playing around but once it's kind of there there you go you know it looks really good make sure that all stays lined up and you want the top of this one here to line up perfectly with that score line here so it hits the top of that perfectly all right so again I'm just going to pop a little bit more glue under that bit there just so it's not going to move and then I can glue now like this and you'll do this on the other one because I know I didn't do it yet cover all of this fold that one up again don't worry about any glue or any mess or anything because we're going to cover the whole thing but we're not going to stick this one down because that's part of the lid we're going to cut into that in a minute and those of you that have made the smaller one you'll see it's exactly the same way that I'm putting this together apart from the fact that these don't join you know to the to their opposite one but it still works fine as long as you just you know spend a bit of time make sure that you stick it you know focus on the line on here so that's I can see there that's nice in fact because then it's going to stand up so it stands up perfectly I'm going to flip it over try not to make sure that sticks down no that's fine again you're only doing it on this base one here okay so with these pieces here if I open this up when you go to close it these are going to go inside but you'll see here still let that dry a second um but you can you see here when I go to put it in it hits here so you need to take a considerable wedge off of this so I'm going to cut right across like so and now see that it fits in there perfectly I'm going to do the same on this one so roughly if you want to measure I'm going to just come across on this one here like so and now I can close that inside like so and can you see the top of this here where it folds over hits the top you know of this side part here just will you know that's another indication that everything lines up I just haven't put that one in properly there I just need to reposition that so yeah liquid glue is going to be the best thing to use for this one but now I'm happy we've got a really nice closure on that and all we've got to do now is make our hexagons actually reminds me of like the raffle tombola you know kind of it moves around like this so there you go it's another idea okay so next I want to grab this paper here and I'll be able to get both my sides out of this or the outer sides out of this piece but I will um I'm going to cut white for the insides now the easiest way to do it is literally pop it on here I mean you're going to draw around it but what I would say is flip it over and draw around it because then you know you've got the exact size you want to line up again this is the top work from the bottom line up the bottom along the bottom of the paper and then have one of the points hit that piece and that way you're you know you're maximizing your paper you're not going to have too much wastage hold it in place and then with a pencil I'm just going to draw around you know some of the sides because you don't end up drawing around all of them that's just that bottom one actually and then down here like so now you could just then cut this one and then draw around that one and cut it again for the other end but they may still be slightly different so what I'm going to do is cut this one out and then I'm going to do the other end separate so I'm going to cut it exactly to the pencil line but then I am going to trim a little bit off each side again because I want to have that kind of you know one eighth of an inch border like I have on the other piece so that's it like so and then just bring this one over you then just have to move it around until you find I think it was that way up something like that there we go but like I said I want to trim now a bit off of each side so I'm going to trim about one eighth of an inch off of each of my sides keep it nice and straight there we go I'm happy with that you see and I've got that blue navy actually I can take a little bit off of that one there okay I'm really happy with that one so I'm going to stick that one down remember open the lid because you don't want to stick anything onto that piece there so I'm going to just kind of not put glue right along that bit yet until I stick the white piece in inside because then I can stick it right towards right over that piece see how now we're reinforcing the sides they become very strong so that one is going to go right over there so I've got that nice border so I'm just going to close that up again and now again that same paper I'm going to trace around and do exactly the same and then I'm also going to do exactly the same with two pieces of white for the inside so I'm going to carry on and get all that down okay so I've stuck all that down and it's really nice inside so it's all reinforced now both sides nice and strong next we just need to add the handle so I've got these pieces here which is that bit left over from when we trimmed down one of the 12 by 12 pieces and I'm cutting these two pieces to three by three quarters but that's because of these D-rings I'm using now these are the ones from the works I know a few of you may have these same ones if not then you could use some key rings you can use you know any kind of metal ring that you might have that will still work it doesn't have to be a D shape but what I'm going to do is thread this one through here because that's the three quarters so I know that that fits these perfectly and I'm going to put glue on one side here and you just want to fold them over so that you know it's kind of halfway you don't need to score it or anything just line it up like so you see now that moves quite freely in there and we're going to attach that inside now if you want you can attach this first and then you know add the pattern paper then attach that I mean I might I don't know how much mine's dry if I've got enough time to peel that apart maybe not I don't want to do one without the other but you see what I mean you could have it in there so you don't see it I'm not too worried although saying that now I've managed to open that one let's just see because the cloud does give you a little bit of time yeah see I can just I can just get that one in there so I'm going to do that but I know a lot of you watched the videos before you make so if you're like me though and you've just ripped it apart hopefully it's okay but now you want to stick that in there so you've got it poking out the top got a bubble caught there so I'm going to pop this one in now while I've just done that one pop some glue on both sides I'm going to pop it in the center but I didn't do this on the other one so you know don't worry if you haven't because I'll show you how it looks on the other one it's okay but now let's see how it's stuck in there and when that closes down it almost like acts as another little bit of a lock for it because it kind of holds obviously that's there but it holds it all in place you see so yeah if you don't want to see it because now it's disguised there I've got a little bit of a crease but it's not too bad so I'm going to do the same with this one if you don't have a d-ring you know at any metalware what you could also do is cut your circle or square dies the smallest ones and cut a smaller one inside of it so you get a little ring and maybe cut them a few times and layer them up so they become quite thick and then you can use that so I know lots of people have done that when they've made the gift bags and stuff so you know if you do it out of mirrored card then it will give you that faux metal kind of finish so you know there's lots of ways around it but again I'm just going to add some glue to both sides there and just feed this one okay so that's all done so now I can fold in the sides fold that down and then I'm going to grab some more glue and I'm just going to that's actually see how clear that's now gone really nice just little extra a bit glitter in there do all sorts I'm going to just put some glue along there don't actually think it needs to be on the whole bit because yeah it's a slightly wider than the actual front of the bag but now I'm just going to sit that probably put some more glue on this along here actually you might not want to add handles you might want to keep this more like a clutch style as well so I think it looks absolutely stunning with that butterfly works so well with the papers just make sure you get it lined up in the center there like that gorgeous and then I've just got my ribbon and I'm just going to thread that through like so and then I've probably got way too much on here so depending on how high you want it and then I'm just going to I know it's probably okay I'm going to put a nice bow there you go something like that so now got your little handle for it and that nice bow on the side and then it all opens up perfectly to a really roomy gift bag inside it's I'm super super pleased with this one I think it looks gorgeous let me just bring in the purple one just so you can see the two aren't they gorgeous so they're going to be added to my big plastic tub full of gift boxes and bags because these are ready now to you know be given to someone as and when I need them and you could easily put a nice little gift tag on there as well with happy birthday or something on there I think that navy with that flower print looks absolutely stunning so there you have it so I hope you've enjoyed the larger size of the hexagon gift boxes for those of you that requested hopefully this has helped you out now I think it's a great it's a nice dumpy kind of size I love it so there you have it thanks for watching all of the links to as much as the product I can find will be shared below and I'll be back very soon with another video see you then bye


Hello and welcome to this session. Let us understand the following problem today. Find the value of x if determinant 2345 is equal to x32x5. Now let us write this equation given to us as determinant 2345 is equal to determinant x32x5. Now first consider LHS is equal to where we have 2345 which on solving will give 10 minus 12 which is equal to minus 2. Now consider determinant on right hand side which is x32x5 which on solving will give 10 minus 12 which on solving will give 5x minus 6x which is equal to minus x. Now equating LHS is equal to RHS. So we get minus x is equal to minus 2 which implies x is equal to 2. Therefore the required value of x is x is equal to 2. I hope you understood the problem. Bye and have a nice day.


Welcome back everyone. We were talking about weapons against Satan and we looked at the topic of the Spirit of God as a weapon before we closed the last session. There are some questions here in the chat. I'll start with that and then we will continue. So Sister Gertrude says many churches do not explain about this. Sister Gertrude, you mean about the baptism in the Holy Spirit or what exactly don't the churches do? This thing, the power of the Holy Spirit. I mean when you are born again, you are baptized in the Holy Spirit, right? But the churches don't have the teaching, sound teaching on the power of the Holy Spirit. So many people are still lacking in the gifts of the spirits, the church congregation. That's what I mean Sister. What she is saying is the knowledge that when we are born again we receive, the Holy Spirit comes to dwell in us and then the requirement to be baptized in the Holy Spirit. These teachings are not spoken of in a lot of places maybe and that's Sister Gertrude's concern. Lucy says how we have confirmation of the Holy Spirit is upon us. So Sister, the baptism in the Holy Spirit on the first day that it happened in the upper room. When people were filled with the Spirit what was the result? What exactly was going on? How did it manifest? Yeah, they spoke in tongues. Now if we read the book of Acts, even other places like Acts chapter 8, Philip goes, he does ministry. But after people are saved they call Peter and John to come so that more teachings can be brought and the church can be established stronger way. When Peter and John come they pray for baptism in the Holy Spirit. Then how does that manifest? People start speaking in tongues. So similarly you see other instances in the Bible, in the book of Acts where whenever people were prayed for baptism in the Holy Spirit, the common manifestation was tongues. So today that's what we also believe. If we say that the Holy Spirit has come upon or the anointing of the Spirit or baptism in the Holy Spirit has happened. What is the evidence? That's what Sister is asking. What is the confirmation the person would be able to speak in tongues? Is that okay Sister Lucy? Yes Sister, thank you. Any other things more than speaking in tongues? Where we manifest God? It's through manifestation of God itself. Yeah, so that's the manifestation of the baptism in the Spirit Sister. It also says in some parts that they were speaking in tongues and then they were praising God. That's also there. But we would take tongues as the common thing that happens. Okay, great. Moving on to Shani. Some churches don't believe the baptism of the Holy Spirit. There are churches that don't believe in speaking in tongues. Yeah, that's true. That also happens. We've seen that around us. But one good way is to always go back to the Word. Because the Word has a very clear teaching about the Holy Spirit and the baptism in the Holy Spirit. Alright, let's now quickly come to the last weapon against Satan. This is praises. Okay, praises. So you have probably done this in your praise and worship class. But we will look at it another time. We'll have to read two passages. One is Psalm 8 and verse 3. How about the online students read both of these? So one of you, could you please read Psalm 8 and verse 3 and the other person can read Psalm 149 verses 5 to 9? Psalm 8 and verse 3. When I consider your evidence, the work of your fingers, the moon and the stars which you have ordained. Was I audible, Sister? Sister, you're on mute, Sister. No, Sister Lucy, I was saying it's verse 2. My apologies. 3 is printed in the notes. So I just went ahead and said that. However, please read Psalm 8 and verse 2. Okay, Sister. Out of the mouth of babe and nursing infants, you have ordained strength because of your enemies that you may silence the enemy and the avenger. Okay, thank you. Thank you so much. So notice it says, out of the mouth of babes and nursing infants, you have ordained strength because of your enemies that you may silence the enemy and the avenger. How does God silence the enemy and the avenger when out of the mouth of, it says babes and nursing infants, but out of the mouth of even the believer. When praise is come to God, what can God do? He can silence the enemy. Okay, so that is the power of our praise. We've all learned about King Jehoshaphat. And that battle, when they were praising God, there was a victory. It's in 2 Chronicles chapter 20 where we read about the victory of Jehoshaphat and his people. The way they went into battle, it's very unusual. So instead of going in with weapons to attack like physical weapons, they went with praises to the name of our God. And that itself defeated the enemy. And that's the same thing that we are trying to understand today, that for me to be an overcomer in my life, I need to have praises for the Lord in my mouth. So the believer who has praises is a victorious believer because our praises, what do we see here? Through the mouth of babes and nursing infants, you have received strength and this is the way that God silences the enemy. So my praises will silence the enemy. God will defeat the enemy through my praises. So we are talking about weapons, right? We said, okay, if Satan comes against you, try all this, we have everything in the bag. So we have the word, we have the armor, we have faith as a shield, we have the name of Jesus, we have the blood of Jesus, we have the power of the spirit. But at some times God may say, use praise. Now which weapon God wants us to use at a given time? We don't know because God, we say out of the box. God always thinks out of the box. We can't have a formula that, okay, every time you have to do this, every time you have to do that. When we are walking with the Lord, we have to be sensitive to Him. At some time, God may say, I just want you to take this weapon. So I remember, maybe this happened last year or the year before, I'm not very sure. But it was like, I had come for a Bible college class only I think so. And I had to make one decision about something, something ministry related, whether we are going to make this decision or that decision and I was very anxious about it because it was difficult for me to choose and decide. So once the classes and all were over, I went back and I had a little bit of time before I can make the decision and I just ask God, like God, I don't know what to do. I prayed enough, I prayed in tongues, I've done everything. I'm still very tensed. What decision should I make? At that time, I felt you just sing. I felt like that and it was strange, like what is this God? I'm asking you which decision and what is coming in my spirit is you just sing. So I sat and I just sang a couple of lines of some song and I felt the peace of God once I sang and I just went ahead. But the long story short is I had the peace to make a decision and it went well and the matter was resolved. Okay. But the way God wanted me to operate at that time is so different from the usual way that he does instead of saying, okay, pray in the name of Jesus or command it like this, like that. The thought that came to me is just sing. Right. Then I realized, hey, God uses the praise as a weapon, maybe in this situation, that's what I need. I need to praise the Lord and when I praise the Lord, my enemy will be defeated. So it sounds a little crazy also that in your battle, what you're found singing. Okay. So the enemy might laugh at us and say, what is this? You should be a warrior. You should fight. But here you are sitting and singing or speaking praises. But that's what the scripture says. When we praise God, God will defeat the enemy. Okay. So it's very powerful, very, very powerful, simple things. We are in a tough situation. Instead of grumbling, instead of saying, why did this happen? What? We say so many things, right? Just take a deep breath, say, okay, God, I know I'm in this situation, but I praise you. I praise your name. I know you will make a way for me. As simple as that. Two lines. You're praising God, thanking God. It's like the red, civil part. Because God can do wonders when we praise His name, even in a difficult situation. So that is the power of praise that we must learn. Psalm 149 verses 5 to 9. Can someone please read it, online batch? Yes, sister. Can I read? Yes, yes, sister Ghatron, please. Let the saints be joyful in glory. Let them sing aloud on their beds. Let the high praises of God be in their mouth, and the two as sword in their hand to execute vengeance on the nation and punishment on the people. To bind their kings with chains and their nobles with fetters of iron. To execute on them the written judgment. This honour have all His saints. Praise the Lord. Wow. So it sounds like war language, isn't it? Vengeance, execute judgment, bind. But how is all this going to happen? Just, you know, track back a little bit. It says, let the saints be joyful with the praises, the high praises of God on their lips. Okay, so God is saying that He can actually defeat the enemy when the believer is praising Him. And many of us may have heard that song, right? The story of that song, I raise the hallelujah, that it was written at a time when a child was very ill, critically ill, and they wanted to pray for that child to recover. And when they were praying for the child, the person who wrote the song, he got the sense that the way you have to battle for the child's life is, you have to sing, you have to praise me. And so to praise God, he wrote it. I raise the hallelujah. He wrote that song as a battle cry for that child that was critical. And you know, it's like God intervened in that situation. So even for us, in certain situations, maybe it's a very difficult situation, just raise the hallelujah, praise to the Lord. Because through that, what did we see? Vengeance, God will bind the enemy, God will execute judgment on the enemy. So much will happen when we just take our position and praise the Lord. If you don't know what to do, just praise the Lord. Okay? Praise the Lord. And it's so very powerful. That is also a weapon against the enemy. So any thoughts, comments, maybe experiences about praising the Lord and that being a weapon, before I move on to the next section. So God is really training us on how we can be victorious, isn't it? So use the weapons. All these weapons are there. We can use it against the enemy.  What about all the weapons? What about the authority that God has given us? So be a victorious believer. Ask God, use the weapons against Satan. So one child I remember, this was long ago, when the kid was asked, why do you want to go to children's church? And they said, oh, they teach us how to fight the devil. So think about it. Even a little kid understands that I can have a victorious life when I learn the word of God. So that was the answer of that child. I'm going to children's church because they're teaching me how to fight the devil. So we as adults, as believers, there is so much that God has given us. We can fight the devil. Be victorious.  No, we can rise above it. God has given us an entire set of weapons and has also authorized us with his authority. Great. So let's move on. We'll go to the next section here. We'll see how much we can cover. Yes, yes, Shani. What verse is that? Will you give an example when they were saying praises and enemies were defeated? What verse is that? Yeah, it's 2 Chronicles chapter 20. Okay, thank you. Yeah, sure. Okay, so now we will go to the practical ways in which we can exercise our authority. And we are slowly moving towards discussing a lot more about deliverance. Okay, deliverance from demonic powers. So how exactly to exercise the authority? So some terminology that we will look at today. Yeah, chapter 11. Different ways in which we exercise our spiritual authority over demonic powers. So let's consider all these ways. And as we consider these ways, there will be some terms that we will explain, which can be used later on when we talk about deliverance and demons. So one way is defensive to protect ourselves. So that we've also discussed in the Overcomer's lifestyle that when we live in a certain way, there is protection already on us. So that is one way that we can escape the attacks of the devil. Second is offensive, where we attack the devil. So that's another way to protect ourselves. We can also protect ourselves through prayer and intercession. Okay, we can protect ourselves through declarations and decrees. We can protect ourselves through righteous actions. We can also walk in the power of agreement in prayer. We can have angelic assistance and we can operate through authority gateways. So I'll explain all of these one by one. Let's begin firstly by understanding how to defend ourselves in the first place. So any country, if you look at any nation at the borders, any smart country will already have either a physical boundary or they will have soldiers or they'll have high security surveillance. Lots is going on because without that, we know the other enemies can just come in. So the same way when it comes to us as believers, every day what we are in this course, what we have learned in every session is there is an enemy. He's active. He's waiting to attack. So when we know this reality and we don't have a protection, that would be very foolish, isn't it? So we've got to have a protection. So how do we have a protection in our everyday life, in our everyday walk? Do you recall in Overcomer's lifestyle, we said Adam and Eve, they did not have any weapons. God didn't tell them blood of Jesus, name of Jesus, nothing. But they were still protected in the garden because of intimate relationship with God, because of submission to God, obedience to God, responsibility. God gave them a responsibility and they were functioning in that responsibility. That was their protection. So apart from that, there are a few more things for us to keep in mind. Now if we follow all these things, there will be like an automatic fence around us and it will protect us from the enemy, a hedge of protection. So the scriptures talk about a protective covering. How does this covering come in the life of Job? Job chapter 1 verse 10. Does anyone want to read it? Job 1 verse 10? Job chapter 1 verse 10. Have you not made a hedge around him, around his household and around all that he has on every side? You have blessed the work of his head and his position has increased in the land. So we recognize that Job had a hedge of protection around him. Through the words of Satan, we can understand that because Satan is saying, God, you only have put a fence around him. How did that fence come about? How did Job get that fence? So when we look at the life of Job, we see that he was a man of devotion. He made sacrifices, he worshipped God, he prayed. So he had a lifestyle of worship. So when we have a lifestyle of worship, we have prayer, we are living for God, we have the word in our lives. So when we are constantly living in this way, the way Job had a fence, do you think we will have a fence? Of course, we too will have a fence. That's why God is calling us to a life like that. So having a godly lifestyle will automatically protect us from the attack of Satan. Now Exodus chapter 12 and verse 13. Exodus 12 verse 13. Now the blood shall be assigned for you on the houses where you are.  Yes. So this is about the Passover. And how did God protect the Israelites from the plague of the first born through the blood? So when they put the blood on their doorposts, the angel of death passed over. That is why it's called Passover, right? Passed over. Today, what is protecting us? The blood of Jesus. So the blood of Jesus is on our lives. So we can proclaim this, we can acknowledge this already by being born again. The blood has protected us, but we continue to acknowledge that the blood of Jesus is my protection. So the evil one cannot touch me. That also protects us. Now what else protects us? We find in Psalm 34 verse 7, the scripture tells us the angel of the Lord protects and camps around those of fear Him. So when we are walking with the Lord, angels also can protect us. Okay. Now how to make angels work for us? Or how do we engage angels? We'll come to it later, but just a simple question I'm asking. We can ask God for the angels. Okay. That's right. Then any other way? Sister, by praying Psalm 91, that's fine. Yeah, it's a declaration. So we can pray that. I'm asking more specifically about angels. We want angels to come and protect us. How? It's not something we can do. Not from our authority, but or lots. So then we ask and pray, right? We pray that we have discussed already. All right, let me just quickly give one scripture. So Psalm 103 and verse 20. It says the angels heed the voice of His word. Angels heed the voice of His word. So this means that whenever we declare the word of God, angels will work for us. So you have to speak. Now what Sister Gertrude said is correct. When we speak Psalm 91 about protection, the angels will hear the word of God and they will be active in protecting us. So speaking the word again declaration of the word is the way to have angels working. All right, so declaring the word. That's the answer. Yes. Yes, please go ahead. So I know we can't command them, but we can pray and ask God, I guess to command them to do something. You want to make sure I'm clear in terms of angels. But speaking, I'm kind of unclear about, can you elaborate more in terms of we speak in the word and I kind of understand the Psalm 91, but other than Psalm 91, give me an example about speaking a word and having angels work on our behalf because we can't command them. We can pray and ask God to, but I'm just kind of, can you give me example, please? So, Shani, what we are saying is that the angels hear the word of the Lord or angels hear the voice of his word. That's what the scripture says. Angels hear the voice of his word. So when I say something like verse three, Psalm 91 verse three, surely he will deliver you from the snare of the fallow and from the perilous pestilence. What we are doing is, we are speaking what God has already spoken. So it is like a command for the angels. They're not our words. They're God's words. So we are just repeating the words that God has spoken and it again remains as a command for the angels. Did you get that? Yeah, yeah, I understand better. Thank you. Thank you. I definitely understand that. So that's how we just speak what God has spoken. It is from Psalm 91, 11. Okay. Says, for he shall give his angels charge over you to keep you in all your ways. Yes, yeah. We can declare that also. Sure, sister. Thank you for sharing that. So we have understood that the blood of Jesus protects us. Our life of devotion protects us. Then angels can protect us. Psalm 91 teaches us that when we are in the presence of the Almighty God, that also protects us. So then we have a defense against the works of the evil one. Now our defense, as long as we are talking about defense, there are a few more words that are used in scripture that we must consider. So what are these words? One is resist.  Resist. Resist means we will not allow Satan any further to do what he wants to. That's what resist means. There are other phrases or words that are very similar, such as give no place or stand against, withstand. So all this tells us that sometimes when we are defending ourselves, there is a little bit of a struggle. Where Satan, you know the one of the attitudes of Satan and demon spirits are like we will understand this. They're very stubborn. They don't give up easily. So if they were to give up easily, then we don't have to resist and withstand and all that because we've immediately used our weapon and we are free. But demon spirits are not like that. We'll recognize that they'll keep trying. They'll understand the weaknesses and they'll keep trying. They'll keep coming back.  You have to resist. So when they are trying, we are also resisting and we are saying no way. You can do what you want to do but I'm not going to allow you to come back into my life again. So that is where the resistance comes in. That is where thewithstanding comes in. So a believer must be aware of these things. Otherwise what will happen? Believers get discouraged. Oh I finished believers authority course and still it's not working. All these weapons, whatever we discussed. Don't worry. Satan won't let go so easily. He'll keep trying. So if he is going to be so stubborn, we have to be double stubborn and we say no way. We are going to withstand you. So we must withstand. In our struggle against the enemy, the Bible also uses a phrase such as wrestle against. We do not wrestle against flesh and blood but we wrestle against demonic powers. You know wrestling, does it take some time to wrestle and win? It does because the enemy wrestler will not just let you go like that. So because Satan tries so much, we also have to put up a fight and we have to wrestle. Sometimes we may feel like that against the sickness or when I'm praying for my family member who's not saved or when we are believing God for a breakthrough in some situation. It feels like why is it taking so much time? It's like a struggle, wrestling. Back and forth with the devil. Sometimes you feel you're on top and then sometimes you feel he's on top and then you're just wrestling. But don't worry. Keep wrestling. Wrestle against or content. And the Bible also tells us that the life of a believer, it's like a fight. You know what Paul said when he finished his living his life, end of his life? I have fought the good fight of faith. So it's not easy. It's not smooth.  Life is not like that. Paul says believers life fight a good fight of faith. So there are going to be times when we have to resist the devil, wrestle with the devil, overcome the devil. So a lot of strength and determination is required from our side. And also quench all the fiery darts. Quench all the fiery darts is when the weapons come, they should be nullified. So what helps the weapons to be nullified? What can you use to quench the fiery darts? Okay, fiery darts of accusation, condemnation, fiery darts of deception. What will you use? Word of God. Okay, anything else we can use? They're all coming. They're all coming to hit us, right? Every day Satan is shooting, sitting and shooting at us. What shall we use to quench? I have to nullify all those. Okay, faith. Yes, faith. So word of God and faith use the shield of faith. So when we do this, we will overcome the attack of the evil one. So this is the way of resisting. We would need to look at the offensive and we will start off with the offensive in the next class. Is that okay, everyone? We'll just stop here for now. If there are any doubts and questions, please let me know. We can talk about it and close the class. Alright, so let's pray and close then. I want to request somebody from the online batch to please pray. Shall I go ahead, sister? Yes, sister Lucy, please pray.  Thank you, O Father God, guide us to implement in our lives to excel over the kingdom of darkness and to be your children of your kingdom of light, O Master Lord. Thank you for the word you have given us to our lives, O Master Lord. With the assurance that we are not left alone. We are under your shield, under your guidance, by your word, O Master Lord Jesus. Thank you in Jesus' mighty name, I pray. Amen. Amen. Thank you, sister Lucy. Thank you, everyone, for connecting to today's class. We will meet again next week. Thank you. Bye for now.


Since the derivative is a slope of the line tangent to the graph, we can sketch the graph of the derivative from the graph of the function. It helps if we consider the following. The value of the derivative, or any number, can be separated into two parts. The sine, positive or negative, and the magnitude. To avoid getting lost in the details, we'll focus on the sine first. So we might try to find the sine of the derivative at the points indicated, and so we have our graph. And so if you remember only one thing about the derivative, you should have paid more attention. But the one thing you should remember is that the derivative is a slope of the line tangent to the graph. So let's draw our tangent lines at A, B and C. At A, the tangent line slopes upward, so the slope of the tangent line is positive. So the derivative is positive. At B, the tangent line slopes downward. So the slope of the tangent line is negative, and so the derivative is negative. At C, we see the tangent line is horizontal, and so the tangent line has slope zero, and the derivative is equal to zero. Suppose we have the graph of a function. Let's try and draw on the same set of the axis the graph of the derivative. Now it's important to understand what this means, since both graphs are on the same set of axes. A point on the graph of y equals f of x will correspond to a point with the same x-coordinate on the graph of y equals f prime of x. The other thing to remember is that if y is greater than zero, the point is above the x-axis. If y is less than zero, the point is below the x-axis. And if y is equal to zero, the point is on the x-axis. We can begin by picking a few random points on the graph, then draw the tangent lines. It may help to pick one point to start with. So let's start with the starting point here A. At A, we'll draw the tangent line, and we see the tangent line has a positive slope. So the derivative will be positive. But since we're graphing y equals f prime of x, then y will be positive. And so the corresponding point on the graph of y equals f prime of x will be above the x-axis. Now if we follow the graph, we see that the slope of the tangent line will continue to be positive until we get to B. At B, the tangent line is horizontal. So the slope is zero. So the point on the graph of y equals f prime of x will be on the x-axis. And so we'll draw the point. If we continue onward, at C, our tangent line will slope downward. So the slope is negative. So f prime of x is negative. So y is negative. And so the corresponding point is below the x-axis. And if we continue on to D, our tangent line will be horizontal. So its slope is zero. So f prime of x is zero. Equals means replaceable, so y is zero. And so the point is on the x-axis. And if we continue to E, our tangent line will slope upward. So its slope is positive. And so f prime of x is positive. And so the corresponding point is above the x-axis. Now we just have a couple of points on the graph of y equals f prime of x. And for now, let's just connect the dots. And that gives us the sketch of the graph of y equals f prime of x.


Our device is designed to deliver mesenchymal stem cell-derived extracellular vesicles, EVs, to the site of a spinal cord injury. This allows us to reduce scarring and promote healing by reducing inflammation and stimulating angiogenesis. Our device also delivers EVs over a period of time, allowing them to be more effective than single doses. In addition, this device can be used to deliver other types of therapeutic agents such as growth factors or drugs. This article was authored by A. O. Fang, Yifan Wang, Niu Guan, and others.


But I took my Navy experiences driving boats and all that stuff into my captain's license and started driving boats as soon as I got out and used some of the schooling to go to flight school. But you can further advance yourself by going to, using your GI bill, all the training and you can get a job doing anything you want. It's just go get the training for it and that's what the Navy provides when you get out. So don't be scared.