All right, so just quick if you go into animation buffet I'll put that link in the post You can go all the way down and you have a bunch of ball ball-bop ball character everything a bunch of rigs in there Most of them are free if you want to go into something a bit more specific with squash and stretch like this one's really good Actually the one with all the texture change is really good. This guy works really well This one I mean this it's all pretty good if you want to go that way But for now you don't have to So within my what I usually do is I set it up like this where I have my Outliner here. I don't need this one there. It's mainly it's because of the workflow at work basically Actually, it's not I mean you can do whatever you want here in terms of camera. You can do a create camera or Do this type of camera and then then you can rename this it to Shot cam just in case you don't want to use, you know, whatever camera you have That's basically my setup. I have the graph added in here and in the perspective mode in here Now for a bouncing ball, I would recommend orthographic one. So For those who haven't used Maya, so if you're doing a bounce ball for the first time I would do a create polygon cube and That is going to be your Ground plane because a plane from orthographic you you're not going to see the line and if you've never used Maya then it's the This W is for translate E is for rotate and R is for scale because you want to change things So to me I would scale this up more like this you can go like this But then you're gonna have to make it pretty flat and again, you can go into panel Orthographic side, that's the view so you can see here that you will see what's going on here compared to if I do create poly plane And you put this low here. You can see that if I do this and they selected you can't see it Obviously it's here in the scene, but in orthographic view you can't see it and that's why I take it out So for me, this is going to be my reference ground plane for the ball so again shot cam this is if you do your pantomime or lip sync that's how we do something. I wouldn't do a new camera like this. I would go the create camera so for the Bouncing ball you don't need it. It's also simply probably don't need to rename it But I'm just gonna call it ground and I'm gonna use a create poly sphere and that's going to be my Bouncing ball here. So I'm just gonna rename it ball and that's all I need again You can look around here if you want to but basically I want to have that ball bounce like this and come to a stop and I'm gonna make this just a bit longer and then that's that and in terms of frame length It's usually around 120 you want to give yourself some time 130 frames and that should be around it And you can if you play this it's gonna be Yeah, like around around that time The way to make this easier. I would just concentrate on the ball going up and down and then you add the translate over So what you can do is I want to start maybe at this height and then in my you can hit s to key everything So for me, I have it as a hot key to shift s you can see on the right how this happened here You can also just create a Separate key and whatever you want to do for instance just in this you do a right click and key select it again I have this on a hot key so I can just do that Just to keep things simple, but at the very beginning you can just key everything if you want So I'm gonna go and frame one select the ball key everything and then You can start to time things out if you want to I just set keys now bring this down To this and if you look at the numbers it gets a bit complicated was you already have some some weird Translates and stuff like that in there. So what I would do I would take that ball Translate zero so you know that is when it's at the bottom and then you take your Take this here zoom in you can take your ground plane and then move it up And in that way, you know that whenever the ball is on the ground at least here. It's a zero It's gonna be much easier to key You know multiple spots there. So if that's the beginning here What I'm gonna do is I'm gonna key this here and it's gonna be up in the air in the lower left You can see I'm gonna set a key Here put this guy backwards. He has already keys on there. So that's zero and then he might go up in the air and then back to zero And then up in the air and back to zero. So that's what I would do in terms of Setting the keys now for again for those who've never used Maya If I set a key Here, okay, that's my starting position and it falls down Maybe on frame 13. It's going to be at zero and then it's going to bounce up in the air again Not as high and now I want to go Back to zero either you type in zero here or You take this key middle mouse drag over and then set a key again And then you can see in your hold on. I gotta decide my channel You can see how it's gone. It's going to copy that key. So again, I can go over it might be up in the air Go back down Middle mouse drag this one over set key and I copies that so something if I would be up in the air Middle mouse drag over and set a key again. It copies that key that you have here again I don't want to do that. So here it's going to bounce a bit less and then Back to zero and so on and you can see that this This is TY. This is your translate Y This is basically representing the the bounciness of your ball So if I take a drawing tool and let's say here, it would be That type of path and the arcs of the ball is basically what your TY is going to be so if I take this drawing tool off What are you going to do now is you're going to change the Tangents so again for you have never used Maya these guys are tangents you move this around and it's going to move the curves around now what you got to do is You have to think in terms of timing and what that means for the ball, right? If you play this right now, it's just going to bounce but it's in the middle and It's not going to be very convincing in terms of the timing. So what you need to do is when something drops It's going to be slow and it's going to accelerate as it goes down So I'm going to hit this and then this one will flatten the tangent You can see it's flat now and now it's going to accelerate a little bit What you can see here, and that's the big key for for bouncing balls You can see that that curve starts to flatten again. You don't want to do that. You want in your spacing the ball Let's go back to my tool if I can If that's the spacing it's going to get bigger and Bigger as it drops just in terms of of anything that you want to accelerate a ball any type of movement, right? So the easiest way to do this. I mean, they're they're different way some people With this here, they break the tangent So now I can move that tangent separately and won't affect the right one And what they do is they use weighted tangents and then they scale it all the way in I'm not a fan of weighted tangents at all It's a huge pain to work with especially when you take over shot from someone else So what I do is I always break the tangents So I do it like this and then basically what do you want to do is every time it's at the top Right if you look at it like this, you're gonna flatten the tangents and here I want to break the tangents and Here I'm gonna break the tangents and then that's that just needs more corrections Obviously this says I don't think has enough enough bounces, but you want that tangent to be at the curve Even slightly this way. You don't want it below that green line. It was then you're gonna have an ease in, right? So you're gonna have this up here This is going to be up here This is going to be slightly up here again. I can tell it doesn't have enough bounces But it's gonna leave it at that for now and you can zoom in a little bit. You can see what's going on Now even if with that change if you look at your bouncing ball It's better than before but it's not great So if I feel like well, this probably needs a few more bounces and it gets a bit slow towards the end What happens is that every time every time your ball is Bouncing and hitting the ground It's going to lose energy and it's going to bounce less high, but also it's going to take less long So if I go one two three four five six seven eight nine ten eleven twelve frames for bouncing the first bounce One two three four five six seven eight nine ten It's going to be shorter and shorter. You might say maybe that's not too bad for the first bounce But then after that, there's a good chance that this needs to be shorter. So I'm gonna move all those keys With that a bit in so it's definitely Getting shorter and I can go in here and you can see that I have in my graph editor I have more keys that I need to have right now. It's confusing while I suddenly have three keys here This was I have everything keyed. So I'm just gonna You can delete or cut but I'm just gonna and I'm so used to cutting and just leave it at that So I just have this here. I probably want another bounce. Maybe after two keys Two keys again, you can take this bring it up a bit higher. I'm gonna flatten that and You got to break those tangents and break this one. This one is already broken. Yeah And every time you do make any changes you have to kind of re-assess How your tangents are It's kind of okay. It's not great, but I think it's gonna feel better. This feels a bit off in terms of time Definitely gonna make this a bit shorter and you can see that doesn't look right because it needs to be again That tangent can't be below That green line. Otherwise, it's gonna ease in if you look at this you're bouncing ball. Let's go back Don't don't don't don't don't don't not too bad at the end too fast. I'm gonna take a key here And make that just a bit longer Not too bad, I can probably do one more bounce so let's say two frames Set a key two frames set a key and then this won't be really minimal so flat Break the tangent which already have And as always let's break the tangent here just in case I need to add another bounce So now you have The basic bouncing ball. It's kind of okay again I'm not worried about any squash and stretch or textures for rotations. So what are you gonna do now? I want this to travel left or right So the blue one here if you still select this here, this is my travel key So that's your translate Z I'm gonna set a key here and at the end of the ball imagine it travels left to right It's gonna go bump bump bump bump bump bump bump bump a roll stop Maybe around here. I'm guessing I'm gonna set a key or You can just move it. It's gonna set a key for you, right? That is that now if you do this it's gonna travel Very evenly and come to Sun stop Right there because that is a very linear key.  Now if you watch this, it's not going to accelerate or slow down enough It's moving It's actually not that bad. I was gonna say you might have to set a key here Move this a bit over spline it and Adjust it like that so that there's enough Long time you can go like this and really give just a very slow ease in But I think right now for me it takes too long to it's gonna go bounce bounce bounce bounce bounce bounce rolls stop But to me at this point It should probably already stop And if you want to be extra little picky your ball can come to a stop roll back a bit Overshoot a bit and then come to another stop meaning that at that point here it might Go back a little bit. So that does here.  That's that's a lot. It seems like it's gonna roll back a lot, right? Let's zoom in here What is that stop doing? Oh, yeah, it's good that stop it stops too quickly and it rolls back too much. I don't Minds how much it rolls back. Let's see Yeah, it's a bit much. So it should take longer To come to a stop but not roll back as much. I'm gonna bring this down And if I look at this key, it might be More like this. So now if I look at the ball, where's the ball? There you go Not too bad, let's full screen this So that's a comfortable amount of time Where the ball is gonna come To a stop it still feels like it's rolling a bit long take these keys bring it back a little bit It's a bit long, but it's fairly comfortable now if you look at the bounces It works. It's a bit standard You can go into I need to go into Animation save and never use Maya here. You have the different that's a change is all the tools up here So if I go into animation, you can go then visualize and then you can say Where is this here create edible motion trail and now you can see What those bounces are doing bounce bounce bounce bounce bounce bounce I can see with this that This takes longer than this So I'm gonna take this key Bring it back so you can see visually how this is changing, right? And then you have this bounce can this feels just a bit off With that I'm gonna take this Bring it down And after that it's kind of case basically you want for instance one two three four five frames until the top One two three four five until the end. It's usually it's safe to bring this to the same link So one two three four five six seven one two three four five six seven and that's pretty okay Now as you move things around again, you do want to check in your TY how that is affecting your curves It's not too bad. I Don't see anything where the tangent is below the line, but again, it's it's a bit It's a bit boring in terms of how the bounces work. So if you watch this again, let's go up here It's gonna bounce bounce bounce bounce bounce bounce and that's that but you can exaggerate the drop where the hang time So when it's up here is a bit longer and then it drops a bit faster up a bit faster hangs here a bit longer And you can do this again multiple ways So if you have let's say this I got the first two Again, you can take this tangent and you can give it weight and then you can pull out those tangents gonna change all this I'm not a fan of that. I just like more control on my own. So I can go here set a key Bring it up a bit And they adjust the hang time like this. So same thing if we've got the apex, let's say two frames and Then two frames forward just to make it symmetrical. I don't really mind too much about a huge amount of contrast You're gonna give this longer hang time And I'm gonna have a bit more of a sharper drop so that this tangent is not Exactly overlapping with that green line. It's going to be slightly above Whenever you do that, you have to start adjusting a few things in terms of the height if I do this mindlessly For both again, you're gonna zoom in a little bit. I'm gonna spline this whole thing hit this one and make sure that this one's flat And this one is a bit more like this And adjust that it's kind of okay. You can see how it feels like it's going to be okay But then it kind of travels too much Again, you're gonna have to go back in there and start adjusting so that your Tangents are not like this going in or like that. You want to be nicely curved And that's usually just for a bouncing ball It's you're not gonna have that type of fine-tuning in terms of symmetry when it's a character doing something very specific You want a bit more contrast in your in your timing? So I'm gonna keep it like that again. This feels a bit weird. I'm gonna bring this up a little bit I've no idea what this gonna look like. I'm guessing it's gonna be okay. I want to bring this up. Maybe this a bit here And maybe a bit more like that Let's watch this. Let's take the graph out and This is under Motion drum, so if I play this now See that feels already different so that hang time is longer here then it's solid drops Into this do any more bounces Feels okay, that's not too bad that to me is your standard and I can have The grid is grayed out that is all my Maya does this you can you have the grid on off here as well Kind of see a bit more of the distance and what is going on there? Don't really need it at this point. So again, you can exaggerate this Where I grabbed this and I want to make the hang time really long I can grab this out here and It's going to suddenly drop or make that really extreme and bring this up So this is going to be You can see how long it holds to a point where it almost almost travels Too long in a straight line where you almost have to start adjusting This a little bit to some degree, right? So if I do this and I do a longer one here Again, I can bring this out one frame bring this out one frame. Whoops one frame And then I look at this does that flatten too much? Maybe Then it comes to a point where it comes down to your sense of timing like how How does it feel for you because there's only so much you can do in terms of alright Well, it's set more keys put some asymmetry there blah blah blah like as an animator You really have to go by feel as well So I'm gonna have a bit more hang time here bring this up and this feels like really long This doesn't look right to me already, but let's play it anyway Okay, full screen It's not too bad you can probably at this point also accelerate Exaggerate the last ones. All right, if I'm here and you want this You can also say all right. Well, it's exaggerate. Maybe go a bit higher to flatten these not too much just this Definitely a bit more here a bit more here leave the last ones and let's see how this feels You so you can hopefully you see this that The hang time is longer like how long does it stay in the air and the drop is going to be fast and you can see also the timing here and the spacing how The ball starts to accelerate towards the end. It's not massively Accelerating towards the end where it doesn't feel like it like there's a almost like a pop. So if I would go Even more, right? Let's exaggerate more do this. Maybe like that Really bring this up here and bring this up like that. It might even go like this. Maybe just adjust Hang time and really bring this to something. That's more like that You're gonna start having almost and that starts to feel too fast the first two Especially that last one. It just gets too fast on the drop. So you have to be careful in terms of Timing here that this doesn't immediately drop like that. So again, to me, I would I would reduce this in here Reduce it like that.  So it's not so crazy And that is that for a Medium bounce bouncing ball. I would give this again enough time to roll. I still feel this is probably too long And stop that's not too bad without rotations now just for those who do want to do a Squash and stretch again, you don't have to do for this assignment. This is just in theory, right? so if I bring back a motion trail and I would do this with a rig that has the squash and stretch controls But just for now if you have your ball and you have to select your scale Set a key here It gets into very frame by frame in terms of what you're going to do with those scale keys But imagine this is your squash and you can't just scale out like this because then it's too big If you scale out, you have to scale a bit smaller And then you have to bring this down was it can't hover and it starts to change your TY when you start adding more keys like that and even in terms of translates You have to be very careful once you are start adding squash and stretch So if do if you just do this and this is what I'm showing it to you. This is wrong because it points down but it's Pointing it should be pointing towards where you're going. That's where the motion trail is actually helpful So that you have a little bit of that in there And see you have to key those rotates. Oh my rotates are not keyed. There you go So I got a rotate set a key rotate more like that set a key Set a key and it's okay When you go up same thing here, I want to set a bunch of keys and that's when you start setting keys on rotations and Translates not every frame depends what you want to do with it, but I want to go up here again. You can't just scale like this You're gonna have to points that ball towards where it's going. It's gonna stay on That path a bit more and then it's gonna be okay You're gonna go extreme it can go all the way up and on the up it might even Squash like this like that can sometimes happen But again, you're gonna have to start looking at well, where is it pointing and then you start having a few more keys like that and then it might even Point like that and then you want your scale to be Back to normal. So one here one here and So on into the drop. So if you watch this without the What did I do here motion trail? You can see the difference here between a squash and stretch and and no ball And you also have to look at like how this feels right as it goes down. It starts to stretch This might be already a bit much Here stretch and you can see how this feels how suddenly a ball has a slight change and then a squash here and so on just it gets very interesting in terms of Feeling here to me. I will probably rotate this guy already a bit more Into this and start almost leaning the the character the ball bit backwards It gets kind of cute sometimes you can really go frame by frame and say, okay. Well, I want to have a feeling of this Right before the end Then squash and then out like this and even that may be here Let me be a bit higher and then you can see how that feels It gets very weird because you're starting to ease in right was out of a key here and Then down here and in this this just doesn't feel right So be careful when you start adding more keys like this It just starts to really mess things up and that's the main thing about your bouncing ball I wouldn't go too crazy with too many keys I will keep it fairly simple and then adjust the Tangents more in terms of timing right to change things up Give this break your tangent here. Give this a bit more timing like that Adjust it more like this Versus setting too many keys especially when it comes to Moving over and what I see in some of the bouncing balls in your in your reel is when you have the ball bouncing and suddenly Like accelerate forward like this and then it goes down and then suddenly accelerate again Then you have something like this Too many keys and then especially something like this where it just it just pops and goes down. That's over complicating things So translate When it moves left to right should be really simple Your up and down should be really simple. It's very flat here. But again in terms of the look and how it feels It gets a bit more complicated once you do The squash and stretch but that's also going to look different if you use a rig that has controllers if that makes sense So that is the bouncing ball medium weight couple bounces enough time to roll roll back a bit and stop and again, I wouldn't do a squash and stretch just yet So just concentrate on the ball. I can take the scale And then delete it now if I change any type of timing It might look weird because now suddenly I changed the timing, but I Took out the squash and stretch. It's the kind of works a bit poppy, but I'm gonna leave it at that if I confuse you all too much Hope that makes sense and I'm gonna do one for the bowling ball Which is a lot simpler and then the beach ball which just takes a lot longer and That's it Questions let me know you can just reply to the module post there and I'm happy to explain more. All right. Thank you


Hackensack Meridian Children's Hospital is getting a makeover. Volunteers and staff have started a rooftop painting project to boost patient spirits. Right now the pediatric wing overlooks air conditioners and mechanical work. Soon it'll be replaced with fun and exciting Jersey Shore themed art. The project was started by local artist Lucy Kalyan. It'll include a map of the shore towns and uplifting phrases for the kids. And since we're the Jersey Shore University Medical Center, why not go with the whole Jersey Shore theme? Luckily for me, scaled up, I was able to go from Sandy Hook Lighthouse down to Barnaget Light and we had volunteers coming up and we painted little Jersey coast right along there. Now patients will have access on an iPad to an actual map that matches the painting providing some interactive capabilities there. It's been a dream of many of the staff for the past 23 and a half years. I've had to look out to all the stuck work and wished that it showed a whole different environment for our families, our patients, and for the children. These paintings will also be interactive so the kids can look up places they see on the mural and then find them online. The project will take about a year before it's finished.


Hi, I'm Jay Hayes with Blackstar Amplification here talking about the LT pedals from Blackstar. I've got five of them here ranging from a boost, drive, distortion, metal, and the dual. They all feature silent switching, very, very quiet, and they'll go from the boost down to the higher gain ranges here. They'll play the same kind of thing basically and go through the gain ranges. The boost is just a straight volume base and treble. The drive is the same kind of thing, but it has, of course, gain and tone. The distortion and the metal and the dual all feature the ISF control, which is actually our tone stack shifter. It goes from a U-S style to a U-K style and anywhere in between. So let me start at the boost. This is going through an ID 60 behind me here, set for clean, incorporate the boost, flat response on the boost, kicks the amp a bit harder, nice for solo boost. Here's the drive, distortion, the metal, here's the dual, the green channel, and then the red. So switching again from the drive to distortion to the metal, I've got to do it right in a rev for you. Again the LT series from Blackstar.


This 2019 Ford F-250 Crew Cab Short Box Lariat is stock number 12133Z. We're here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used heavy-duty truck headquarters. This 2019 Ford F-250 has the 6.7-liter V8 power stroke diesel. This truck has been fully-safetyed and inspected by our service shop, has a fresh oil and filter change, all the fluids have been checked and topped off. And this truck is 100% ready to go. Magnetic gray metallic is the color. We shoot all of our videos in 1080p, 60 frames per second. So if you have HD capabilities on your computer, tablet, smartphone, or television, turn them on right now because it is definitely your best way to check out the quality and condition of the truck before seeing it in person and the options as well. If you like the video and want to subscribe to our YouTube channel to see videos like this one each and every day, then the lower right hand part of the screen is a subscribe button. Click that and then click the bell notifications and you'll get updated every day we do videos here at Summit Auto of our amazing new and used inventory. This one comes with the chromed 18-inch alloy rims and it has Goodyear Wrangler All-Terrain Adventure LT27570R18 tires. These tires have right around, I'd say, 70% of the tread left, 70-80%, only 7,000-some miles on this truck. Frame and underbody is in excellent shape, as you'd expect on a 2019. Front fender looks really good, no dents or dings on there. It comes with the LED headlamps, the LED running lights, and the LED projector fog lamps down there, or reflective, reflector fog lamps, I should say. No dents or dings on that front bumper. The hood is in very nice condition as well, and you do get the chrome trimmed grille. This one has the 360 camera, passenger side front fender looks really good, and the passenger side rim, no scuffs or scrapes on there. Take a look at that magnetic grille, it's got a lot of metal flake to it, so when you are in the sunlight it really sparkles. Always like showing the metal flake in these metallic paints, get a good idea of what it looks like in the sunlight. As you go down this side of the truck, take note of how clean the body is, how reflective and mirror-like that paint is, we take these HD videos, so if you are far away or even if you're close by and just cannot make the trip down, but you're still interested in purchasing the truck, you can see the truck, hear the truck, and have confidence in the vehicle that you're looking at before you even get here, so when you do get here there's no surprises, and you can make a smart and informed buying decision from your own home, has the nice wheel-to-wheel side steps, this back rim is in excellent condition as well, you get the chrome tipped exhaust, back tires have just as much tread as the front tires, maybe even a hair bit more, and the frame and underbody is absolutely perfect, and it's like that all the way underneath has all the remaining factor exhaust, and the lower rockers all look really good. Coming around to the back it does have the FX4 off-road suspension package, which gives you the Rancho shocks and the skid plates, not sure if it still gives you the Rancho shocks in 2019, but it definitely gives you all the skid plates. The tailgate is in excellent shape, no dents or dings on that, has the power drop-down tailgate, tailgate step assist, bed is in pretty nice condition, a little bit of light-duty usage but nothing bad, it does have the LED bed lighting back here as well, and those lights up top light up as well and it does have the cargo cam. Tailgate shuts nice and solidly, tonneau cover is in nice shape, didn't see any rips or tears on there, and as you go down the driver's side just as clean as that passenger's side, no dents on the box, and for full disclosure this back rim no scuffs or scrapes. Down the rest of the side of the truck looks really good, you do get the blind spot monitoring in the mirrors, LED side lights, directional signals, that's part of your 360 camera, these mirrors power fold in, they power telescope out, and they get the chrome backing on them. This one does have the door code entry, which we do have the code for, and if you wanted to figure out how to find your door code on your 17-21 super duties in the upper right hand part of the screen is a link to that video, check that out.  I always like showing both sides, so you know that all the options are working properly on the truck, and then they do power telescope out like so, you can see that this side's working nice too. Get the nice wood grain trim, leather bolsters on the doors, we'll hop inside, take a look at the ignition, or the instrument cluster turn the ignition on, and you can see that this truck has 7,662 miles, you get the digital speedometer, instrument cluster, the nice LCD display, got all your different options and stuff on there, instrument cluster is very nice and clean. I turn my light on here so you can see the steering wheel, very nice and clean as well, Bluetooth and audio controls on the right, cruise controls on the left, it does have the six speed automatic transmission with the optional tap shift, the B&O premium sound system, this one has the factory navigation system on it, the sync eight inch radio, AM, FM, and serious satellite radio capabilities on this vehicle, and you can see Sirius right there, you have all your different climate controls including your heated steering wheel buttons, your heated and cooled seat buttons are down there, and then you have all your different apps, and then you have your Apple CarPlay Android Auto where you can project your cell phone, so that's really cool as well, and then you have your 360 cam right there, which is right there and gives you a nice visual of around the truck, you also have your front cam, you have a wide front cam, you also have your cargo cam, and then you have your 360 cam of course, and then if you put it in reverse, you have your normal backup camera, and then you can zoom that right over the receiver hitch to get hooked up to your boat camper or trailer the first time every time. Anyways, tons of stuff that you can do with that radio, factory exhaust brake stability control, downhill assist control, but that's the main stuff, down here your audio and climate controls, turned out four wheel drive, factory brake controller, dual climate control, down here is two USBs, this one does have the ambient lighting in the cup holders and on the floor, keyless entry, remote start, power drop down tailgate, that key fobs in really nice condition, and last but not least you do get a 12 volt power point and 110 volt 400 watt plug-in. Dual glove boxes, passenger side format and seat are in excellent condition, no rips or tears in that, this truck's never been smoked in, smells very clean, and the headliner is very nice and clean as well, you do get map lights up there, power side and rear window buttons, and we'll take a quick look at the back seats and then we'll start it up and take a look under the hood. Back seats are just as clean as the front seats, no rips, no tears back here, it does have the latch child safety system for any child car seats you may want to put back here, power sliding rear window with the built in rear defrost. Now these seats do fold up for extra storage, you get a collapsible floor back here, and what I mean by that, right now it's up and it's locked, but you can put this down and it goes down nice and flat, so that's almost like it's not even there. You do have factory floor mats back here, you do get another 110 volt 400 watt plug-in and then two USB power points and then a 12 volt power point back here. These are your tie downs for the box, and this one does have the subwoofer, you can see it, it's right behind the seat there. Just locks with that latch, you un-latch it like that, goes down, child safety locks on the back doors, all the bottoms of the doors look great, and we will start it up, take a look under the hood, we'll check out all those LED headlamps and everything, you can see it starts right up, no check engine lights or warning lights other than telling me my hood's a jar and my door's open, and turn those fog lights on as well. I would personally like to thank you for checking out the video today, and hopefully from this HD video you will have been able to tell just how clean this truck is all the way around inside and out, there are all those LED headlamps and fog lamps under the hood, we have the 6.7 liter power stroke diesel, engine bay is very clean, runs very smooth, once again this truck has been fully safe and inspected by our service shop, has a fresh oil and filter change, all the fluids have been checked and topped off, and this truck is 100% ready to go. Here's your emissions sticker, I would highly recommend this truck from a quality and condition standpoint, and to see more pictures of this truck or one of other 450 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, three-quarter tons, one tons, you name it, we got to go to that website right there at www.summitauto.com, full pictures and descriptions of every single vehicle from two locations all at summitauto.com, and if you like to check out more HD videos you can go to youtube.com slash summit auto remember to like, subscribe, and share on this video and all the videos that you see there, in fact in a second you will see a link to subscribe to our YouTube channel in the upper left, link to more F-250 videos like this one in the upper right, a link to this vehicle on our website in the lower left, and a link to one of our latest YouTube videos in the lower right, click those, check us out and we're super excited to help you with this Ultra Clean 2019 Ford F-250 Crew Cab Short Box Lariat FX4 and Magnetic Gray Mattel, thanks again for checking out the video and remember to like, subscribe, share, and click those bell notifications.


Hey everybody, Matt here for Layton Sports Cards, ripping three boxes for Levi S. We have two boxes of 2022 Panini Immaculate Baseball Hobby, one box of 2022 Panini Immaculate Baseball, first off the line. These are for Levi S. Good luck, Levi. All right, we'll do the two hobby and close it out the first off the line. See redemption on the back there. This is triple relic to 25 Spencer Howard and rookie jumbo jersey to 49 Aaron Ashby. This is patch auto to 25 Alex Kiroloff. Are they sold out? I'm not sure. Take a quick look here.  This is auto seven of seven Dominic Smith. Yeah, I don't know what's up with stream labs. This is rookie triple patch auto 405 AJ Alexi. Nice patches on that. Give me one second here. Big hit for you here is rookie triple memorabilia signatures black. That'll be to 10. Wander franco. There you go. Congrats, Levi. Awesome. Wander. Great start to your break. Congrats. That's awesome. I should see how many times I could say congrats and awesome. Hey, thanks, Antonio. All right, let's keep it going. How the bucks get the second score? I hope so. Hope so Blake. That's rookie jumbo jersey to 99 Curtis Terry and Jersey 49 JD Martinez is Jersey auto to 99 DJ hers. I can say with confidence that's the first time I've ever pulled one of his cards. Not familiar with DJ. We have more iMac in stock for personals too. If anybody wants a box, grab it up. This is rookie patch auto to 99 Drew Ellis. This RPA and prospect auto to 25 Michael Harris. There you go, Levi. Nice one. What do you guys think will Strider Harris get the rookie of the year? Brendan Donovan will not. I'm just happy to see him as a finalist. This is rookie patch auto to 99 Juan Yepez. Good box there. First off the line closing us out. First up is pink patch to 10 Adam Wainwright. Nice way. No, this is bat relic four of 10. Gabby Hartnett. Good Lord redemption. Rookie patch autographs. Hello gold. Wonder Franco. I just looked at cardboard connection. It says this is numbered to two. Huge hit Levi. Congrats. You crushed it. Enormous hit. That's awesome. Your worst box of the three was still pretty good. There you go. Congrats. That is jumbo patch auto to 25 Tucker Davidson and auto to 25 Gavin Lux. This is patch auto two of seven Tristan Casas. Casas to close us out once again. Rookie triple memorabilia signatures black. Wander Franco to 10 and rookie patch autographs. Hollow gold to two Wander Franco. That is awesome. Congrats, Levi. Appreciate the purchase. We'll get these right out to you.


Because maybe some of you saw the talk yesterday, today we will kind of make the next step. And for this I think it's a good thing that we're not too many because I would like this to be a little bit of a seminar. If you have questions, chime right in. If you have any, you feel like everything was lost over too fast. I'm happy to step back and explain this because in the end we want to try to make step forwards and develop this whole thing together. So that I'm not just going to be reporting on where we are, but hopefully try to find out what might make sense on the next step. However, getting started I would like to just put the benefit of those. I've been there yesterday or I've never heard about Project 4. I'd like to start at the top of the window of presentation, walk you through what the next one is and what the vision behind the whole thing is. Basically, we have a cover here at the phase where Lisa Amu even says that the smart-cutter environment has a standing meant to be complex. They have a different focus or at least that was the focus at the beginning that they had. Now that we're coming to a point where we are in a more mature environment than we had before, we should also be exact about what smart-cut contracts actually are and what they should use. And we have Vitalik on record who's basically saying, well, I can't regret having called this smart-contracts. We should have just called them sort of procedures, something like that, and that actually enchanted it. I'm actually happy to take out the mantle that they are dropping where they're saying, okay, maybe smart-contract was not such a good name for it. And explore what is possible, actually, with programs that are running on the blockchain and have certain features. And to get into the mood, I hope I will be able to switch out of these presentations, I'm sorry, to start out what I think is a big discussion here. Maybe just a discussion on the blockchain and smart-contracts and to set the tone a little bit. Because we don't have sound, maybe I don't sing to it, but I can explain a little bit what these thoughts are. Obviously, the human brain, we have 16 billion forests in our world, and they're all working in a problem, right? So what we have now, even if we look at, depending on how you count, how many nodes, how many follows there actually are on the blockchain world, in Ethereum, on the midpoint, it's something that has caused nothing to do in scale with what is going on in the real world. And the biggest computers at this point have 10 million, actually only in every single plant, 7 million plants. So we have to ask the more so, the more we allow them to start becoming forces in our global lives, at least become pretty big. And of course we have to ask where this all goes, because actually it's going, it's starting to go down on the blockchain, it might be the tools that we will need, most possible, where we don't have to find a way as a society to talk about robots, specifically about those robots, should be allowed to do. This is something that also, like if we go beyond the bubble that we're all in here right now, and it's wonderful to see all these familiar faces and so on, but there are a lot of people who care about things and they do care about these kind of things now, that we're not maybe on the forefront of everybody's thinking when Ethereum started, but meanwhile Facebook is not really considered a force of good anymore, nobody's laughing anymore when Google says, do no evil. And this is often a presentation yesterday about the difference and what is going on, and how important it might be to have a visual concept and forces in the blockchain world. And I was finding that actually it's a perpendicular, it's not really the same dimension that we're talking about, but the next one is not really about trying to be an alternative or do something other than aid you, the next one is just proposing something else, but here's something I learned when I was in the army, the rule that actually protecting the weak, and the more you might feel like you don't need no rules and you're just being hammered by rules, well, maybe it just means you're pretty strong, but I think one of my favorite is that when we talk about society, I don't see a 1% problem, I see a 10% problem, and that is the 10% that most of us are in, we don't have much contact with 90%, we're not as privileged as we are, and that probably means every single person in this world. So yeah, code is law, and maybe the powerful are laughing about it, right? It's becoming interesting, and yours isn't that, I mean to me like the Dao or the interesting thing that Dao was, and actually it was code is law, and then, oh, and then the code had it back, and then all of a sudden you didn't only have those code, code is law, the spirit of law, the spirit of a contract, but all of a sudden you had the spirit of the code, because that was what the Dao was actually meant to do but didn't, but everybody understood what that was, right? And so the decision was, okay, so if we now try to divine what the spirit of the code had been, and yes, obviously that happened, right? So it was hard for it to make the vibe go away and make the spirit of the code be the code, which is an interesting way, I promise, all mushrooms into more complex ways to look at this whole problem of hard to read or hard to divide smart contracts. Now the problem, so the next one obviously was that, well, we don't do accounting like with bits and bytes, right? Just because the computer knows only bits and bytes, that's not how we do accounting, because we know it's difficult, we can't have a bug in that, and so we have really languages and we have created programs that can do better. And so this next one now, this is a program, and that's the point, right? It has actually gone further than I thought in the beginning possible, because I thought you will always have to make some compromises, you will have to explain people that a colon has a very specific meaning in this context, but actually it's been Brian Fox who pushed me into optimizing it on the readability side, and now I would say to me this is like really zero learning world, and this is where we are right now, where you can say, okay, anybody can read this and understand that, and that is the point, because you can also compile it, put it on the blockchain and the smart contract and it runs. And it took a bit to get there, it also is not quite clear how far it will actually get, there's still research going on, it's a long road to understand how long do we need it, how they want it, what makes it a contract to them, although there's other stuff where naively looking at this, people who are not in the legal profession might doubt whether this is actually a contract, but lawyers will usually tell you, yeah, it's absolutely a contract, because it's not about the beauty of the language or something to be a contract, but the contract is not thrown out of the paper because it's not grammatically trying to say correct or stuff like this, right? So, and what I would like to say today is that this could work, because why stop with English? Like something who is doing exercise and democratization, and actually I'm really trying to argue this intermediate programs, every good engineer does that, trying to make themselves superfluous. And Vitalik has actually told me, I think it's explicit, that he wanted to empower the programs, that was the objective for the theory. I'm curious how far we can push this, and how far beyond being a super program is this, but I'm also curious how far we can push it, how far beyond English we can take this. And I hope to go away here with the learning about how it is awful at all, right? And what challenges are particularly with Japanese law, aside if I get to show you the states that you're very informed, you can also play around, it's online right now, and give you a live presentation, just because that's usually giving a good impression of what we're talking about here, but if you can't do it, just get a feel for that. You can also go there, it's on the text on the tag. And the newsroom actually is at this point, it's on the text on the tag. I had no idea, of course, we have program till the last minute, literally, to get everything up to date, and as powerful as possible. I cannot show everything a bit. What is going on there is basically, on the left-hand side, you see the code, the human readable code, and while you're writing it on the right-hand side, you can get Solidity form, actually. Yeah, that's Solidity. Yeah, that's Solidity. We also have a tab now for Sophia, which is another blockchain attorney, a very good technology, might be, who are also going to be a target platform for Alexa, and that's what you can see. So there's a lot of work ahead of us for us. In the moment we're trying a lot of things to understand what the focus is going to be, you can look forward. I would just like to, without further ado, try to lose the focus again. If anybody has a tip for me, how you can switch back out of full-fiends presentation to other stuff. Embarrassing yourself might be... What are you doing? Teaching me how to do this. Yeah, let's just take some of that. So... Side, you're going to see some Solidity popping up, and I'm going to explain a little bit on the slide how a Lexon contract works. So it always starts with the keyword Lex. And also that is part of what it actually... Should that keyword be like this? So, if that is a word to discuss in this question, in this question to try to make something that is going to be acceptable to your judges in the end, and that works from always on the front. For now, that's rule. Like, it always starts with Lex, and then it has a name, and this name is basically there for managing, finding what actually the addresses that you want to get. Actually, you want to contract with that contract. Can you blow up the view?  Thank you very much. So, that is something that is actually something a lot of you are used to. You have our contract, very often, a section that is explaining very much. And what you see on the right-hand side is how basically it's building on the slide, it's building Solidity. For the technical, this is WebAssembly running in the browser, so the compiler itself is testing WebAssembly, although the browser is quite fast. It's also pointing towards what else we're going to do, because there are blockchains out there at Divinity, or also Pocket, that section, that is going to be WebAssembly play, where you're talking about having a subset of blockchain, that has a virtual machine running Lex on, program and bus. So, that's what we're going to do with that. So, now we have definitions out there. We have definitions, and these definitions also, like, we're talking about how this can be done in a way even more like a template than noise actually is. For now, this is how it works. Now we say, in this example, we have the payer setting everything up, and the logic is that, it's just not going to pay off, right? It's just not going to enter its time. So, the payer, basically, already we're a smart contract, it's more powerful than a situation as we're used to how it's done, because this means nobody can run away with the money, right? Money, because of how we will program the rest, it's just going to be going to the payer payee, but never to the after. So, the after is not going to be able to just run away. That also fixes that. This is basically the result. So, this sets up the situation, this is what happens when the contract actually is set in motion, but it counts inside the contract, because what we're doing here, obviously, is the cookie cutter for a lot of different contracts that you could imagine, and so on, but always on this contract, it counts as an actual contract, this is the first thing that happens on the blockchain, but also, so to say, the real one. And now, the main functionality of this contract is basically a payout, right? So, we want to be able to say that the arbiter is the one who also earned the fee, and now you're done. Right? And I will not go into this now, but we can now avoid some blockchain using that button down there. We'll go to this here in Robson. On the back end, we're compiling the disabilities we compiled, we put it on the blockchain. We'll be using MetaMask, and so we basically have control over who is supposed to be allowed to do what. The very powerful thing that we have here is that we can parse because we have the information that is happening during the translation process. We can use that and create the interface, how to interact with this contract. So that we can have an interface where basically we're using the information that the arbiter may do something and nobody else may do something to know that the button that is going to be created for the payout functionality should only be shown when it's the arbiter who's doing his balance. Right? So, and this, this goes on, this is like, you can take the entire clause of the arbiter of the payout as a description for that button because this source code is like the perfectly supplementing source code doesn't go beyond that, right? The command and source is the same thing. So when you end up with, you have a lot of, a lot more powerful way to create a generic interface to actually then interact with these contracts. That is all because the entire process of translating Alexa and contracts, of compiling it into Solidity is happening on a higher level than what usual programming does. I've written about this, there's a paper up here that is arguing that because Alexa comes safe on a higher level but closer to human language, it actually has a structure like such as objects and verbs which is a really different concern in those structures that are used to translate that into something else that you have in a program language. Between a program language, you have a tree that has the logic of as you can see on the right hand side, actually you have stuff where message.sender so you have message in your sender and then stop operator and then it's dereference because as such as an object in the sender there is an element in the object and so on and that's why internally the compiler is concerned with that translated Solidity. Well, the compiler that's concerned with translating is actually talking about the payer, pay, and amount and that is actually what the business logic is what we think about. So, is there a reason why you wrote that Arbiter may pay from an escrow without including the if? If some condition happens in the conditional because it's certainly the creative conditional I think, but you don't actually have it specified. Would you have to then later on add a conditional of when it would execute? Okay, thank you for that question because to verify, these are the recitals, right? They are, are you programming? Oh, I, yeah. So, they basically the constructor, right? They are what is executed the moment that you say, okay, now I want to make this a real contract. Now I'm going to say who is the payer? What's the name? What's the street address? What's the blockchain address? So it becomes one real instance of one contract and at that moment the recitals are basically being executed and that is that line which means like I wish I, yeah which means that you basically can, when you want you can use that for other contracts too because it might be a very generic code that you have created but the recitals are basically what have to happen the moment that it becomes one concrete contract. And this is why it's not really a if it's part of this. Okay, if you want to make this a real contract do this but let's outside the realm of programming or a contract it's just a contract that happens. But yeah, we know we can step into this contract but then to enter this contract what has to happen is this. So the name though in the payout there is much more of a condition and it's actually what it actually is is a condition for access control basically, right? Who is allowed to even go and execute this function from the vantage point of this smart contract of the program but also who is even having this option like on the legal side when you go get it as a needed contract and that's something actually we have discussed a lot of discussions about because it's different, right? A smart contract works with incentives a smart contract cannot go beyond the blockchain and try to enforce something that didn't happen because you wrote in the contract someone shall or must or should. So to really articulate contracts that make sense to put on the blockchain you would pretty often try to reverse the logic of a normal legal contract that would usually just say okay they must do this or that or even if this is fulfilled then this should happen in this case you just give the option and hopefully the fee was high enough that the operator is feeling incentivized to actually do what they may do but if they don't then this contract actually is not saying that the operator is not going to jail or whatever but it's just nothing is going to happen and that is also how a blockchain contract works of course you can now create a stake you could create a version of this contract where you say I can be after first as you pay in a stake so be sure that they're going to lose money if they don't act as we want them to act so it's a whole different deal and yes of course you could totally do this it was a good example for next steps what is the Lexon manager so yeah that's where I wanted to really quickly go one step back and then I'll go one step forward so I wanted to show that it's pretty easy to go and extend Lexon programs using Lexon in practice we're going to be a lot about having templates and learning from those templates to extend them and to adapt them to what you really want there's an exercise that somebody feels courageous I just copy pasted obviously you can kind of do it like this what would I have to change now in this second clause where it says pay out again to make this well basically an opportunity for the after to also decide to give them money back to the payer because let's say in the real world the business didn't happen as it was planned so you know what I need to throw up a few people in this room but I'm sure you can still tell me just intuitively what I have to change and so you just come in the stands right so what's wrong there you just think English what has to change in the second clause what's your equivalent to a Boolean you need to declare some sort of Boolean and then say depending on that well listening to you, you sound a lot like a programer maybe think like a bodyguard or decision change the name to payback instead of payout instead of being to themselves it would be to the payer like this so let's and yeah obviously it's pretty much based on common sense and in the second paragraph basically demonstrating that it's not easy for programmers I would say I'm not going to do that now but either lawyers or programmers really love this I'm pretty happy that somebody very early on of a very well known law firm and the blockchain space told me that their boss is not going to make them use it and that was programmers programmers think this is verbose this is complicated this is not curly braces and colons and so on this by definition not really a lead for a language for non programmers for programmers I was just thinking is there a way or an idea to do it the other way around from somebody to do something yeah thank you that's a very interesting question so and this question comes up because a lot of people have a lot of investment and salinity contracts and it makes a lot of sense to think about that but it does highlight what the difference is between legs on the salinity the thing is that of course all the information that you have on the left hand side is on the right hand side somehow but it hasn't been baked down to the level that mixes this other stuff but you also have to do in salinity so it works external right yeah address address bracket this closing bracket dot balance is right if you want to that money that is there in that contract you can't just write extra or something that's fine however it would be hard pressed to find a way to what the actual difference logic was and what is the requirements that the language just has to be because it just has to be obviously you are able to guess it or know it in the translation process to salinity is this higher level the clarity of the higher level of the information that I was referring to that next one is dealing in objects and subjects and verbs actually really and to get that back out of salinity you have a very hard time I guess it would be possible it would be easier to just write rewrite this stuff the next time something that also actually is sometimes when I make a mistake when writing an exam contract people catch me because like the theory of the saying I usually do I'm at shift at the same time so I'm not really good at thinking it but sometimes I write this I wrote the person three times so I write easy person and of course the audience always catches me and the last time I did it they actually proposed I should write them out I guess so they guessed the language right because it's so simple but what I found interesting as a programmer is that actually people now share us in the program using a normal language center if it doesn't read write in English it's probably a bug that's pretty powerful because even as programmers our language center we use that all the time right so that's really I mean it just jumps at you you don't think about language or about English or anything you just have a feel how it doesn't read write and on the right hand side if I would whatever it is if I write a month on the right hand side that's exactly the stuff you have to look at if as a programmer you know a lot of different languages because that's slightly different every next language sometimes in the U.N. sometimes as you go down it's unsigned sometimes it doesn't even exist it's just intentional written out it's always the same it just has different names and you cannot as a layman criticize or jump in and say oh that's probably the same if I write something else other than U.N. if I write U.N. you have no opinion about whether that's right or wrong so that's a very interesting side effect that I found certainly unintended but this kind of stuff keeps keeps coming up in a different way of writing programs so going up I wanted to I don't know what happens because I just changed the program so while it's loading or not I would like to use our time basically rushing through a number of spots in the beginning basically what my first idea was really like if smart contracts have this magical new feature that they can transfer money that's really new because the programmer has a lot of ways to have the magic feeling for the stuff that you create but actually now all of a sudden you can't transfer money so the idea was to find some degree and now programs can shift the session you can still sue them and if a business is asked to use smart contracts or something serious they will ask that question like what happens because somebody doesn't agree with what it does so the idea is simply if this smart contract reads like a contract and I can show it to a judge then I take out the incentive because hopefully that contract is going to say exactly what happens on the blockchain and then the judge will just run to the shoulders and say why? and that actually just makes the contract more powerful and there it goes kind of back in a way where it's not so much about a legal or not a legal this is also in a way making contracts more powerful and on the side it's also making possible to within a company to have this verification process to have business people wanting something contracting with another company wanting to achieve something so the whole thing is compliant and really in the interest of the company they all can verify now they all can chime in on what's happening and it also ropes in the users or small businesses that might not have a blockchain department they can read those smart contracts themselves so in the end it's also it's also taking on a current way that business models work in the blockchain world where basically a start-up is formed around a complex smart contract that is very generic and is going to are supposed to work in very different situations and then basically the start-up is a provider of the service that is created around this smart contract that is very much democratizing that in a sense that hopefully writing a lexical contract writing this complex contract that's exactly what you want so it's also easy that you will not do these new start-ups right so that's another important aspect of what's the motivation behind this you had a question yeah so obviously you know smart contract is just sitting around the blockchain and anyone can interact with it through death or whatever how is one put on notice anyone with a smart contract that came from a lexical contract such that their interaction with a smart contract is you know basically indicating their consent to be bound by that legal contract that's a very good question thank you so the situation right now is that usually you do not even have a chance to understand what the smallest code was because it doesn't convey it back so that point at some point I think it's going to be very important to have a virtual machine of lexical where one of the attributes is that you can compile lexical it onto the blockchain but you can also decompile it back out so there cannot be the situation that somebody is asked to interact with this contract but doesn't have any way of knowing blockchain explorer so this kind of virtual machine would have the ability to just press a button and say yeah this is actually the code this is one of the aspects why the way that we show it now where we compile it into validity and the possibility to compile it onto Ethereum is not the last part it works now very well to make people understand that it actually has the full part but this is one of the reversibility of individual contracts without doing your work because judges can change history they can just say well yeah actually this contract should have never been done well let's strike this out as if it had never happened yeah so I did notice there's certain rules that you're following when you're writing the lexon thing like every sentence is ending with a period when you're defining variables it's in quotation marks lexicon that's required in order for you to be able to convert does it flag like you forgot your period for an average person yeah actually I did that on the side right but we're working to make the compiler be as helpful as possible now this is a big topic in programming the Rust compiler really is very advanced in this it really almost tells you what you should have programmed instead of what you tried to write and it compiles with a fatal scheme C++ also has a wrong solution behind it and this is definitely something from day one that was very important to me to have arrow messages that are good as possible it's a little bit something of a lexon thing in the sense that there's a lot of stuff that we have to test out that we have to re-risk first when the stuff actually works and if it works then you can be pretty sure that with that work you will also have this kind of very, very aware that you want to have a lot of context help like your negatives improvement of Java and other recent tests when it comes about parsing complexity like do you have a long term vision how would you like to direct the evolution of the lexon like the natural languages have this contextuality that it's backwards and forward in the parsing what makes it like almost impossible task to implement like the proper way of changing this bring maybe this feature of the language that when I have a sentence it carries on the context from the previous sentences or but maybe you decide to drop on a feature to refer to the future sentences because of some way or you just leave it now on the side because you would like to focus now on the use cases and see how it will evolve and I'm curious where you stand and what's the current state and what are the next steps so the basic grounds of what we're doing here is called control language the idea has been around quite a while and there are even papers that are basically pointing out that this should be possible we are doing very normal from out of work and we have cases of not going forward and proposing a new grammar but instead going back using an existing grammar English and pairing it down to a degree where we can actually parse it and create an AST out of it an abstract syntax tree and then do other stuff for example creating solidity or so forth for this we can and that's the major premise basically we can basically pare down the possibilities of English to something which sounds too much enough but it will not allow you to just go overboard and create arbitrarily complex sentences or even sentences where you decide to arrange words in a very different order than normal stuff like this because we have to and I actually managed to get lost and been switching again but actually there's in the presentation I have a grammar section where I'm just showing how this looks and I actually file those that has given you for us as programmers that contains the information that is going that's eventually being so to say blueprint of how the computer understands language and what it is looking for what key words are looking for what kind of patterns it is looking for to be able to then construct out of that a structure that allows you to really have the understanding within the computer so to say of what the language is and with this I'm skipping over this yeah this is the ground actually so this is files scrolling it through it's not too long but this is how you articulate what you actually want so for example we have statements there's a number of statements and that's the list of statements that I understand then you have the definition that clause is just that you see there there are certain key words that you see and quotes and that's actually the key words that I understand and that's exactly what I want to close with to open discussion about is this thinkable for Japanese is this something where the Japanese grammar is giving you obstacles that you will probably not be able to go through or is it worth giving a step to also create a lexicon that is based on the Japanese language so what I was showing earlier could this work this is what I'm really stoked about and I would like those who say that they can speak Japanese to chime in and educate us if they feel that what we do here with English is something that could also work with Japanese there's no right or wrong I have to give opinions and reasons why or why not I was thinking because you talk about control language so a couple of things one is that did you think about IBM's easy English things like that which have been really used and the other thing is the problems that happen with control language which is because it is a natural language control language if there is a later dispute can you not go back and claim it's not my fault it's the language that I thought I meant it this way it was not like that and because you cannot do it you know what I was saying some of the nuances of a natural language would you not limit the kind of contracts you can write in it well let me restate my question what we do with English do you think we can do this with Japanese what do you think what do you think what do you feel the challenges would be in Japanese something I'm familiar with it's not as nice as the English word but where it's all of a sudden at a certain point in the sentence have to have a certain ending so this is the major challenge where you would see where you would have more difficulty in Japanese yeah other opinions there you know grammatically Japanese is actually relatively easy grammatically it has very few irregulars it follows a particular structure they have these articles like you have the law there before the comma so you can basically kind of use those anchor points to figure out what the code is going to be in fact this has even more specificity remember my question earlier about May May can be permission but it could also mean the conditional which is for me first thing that came to mind was conditional rather than the permission this is very clear the permission the Japanese itself that you're used here shiro o koto ga that specific Japanese is talking about they have the right to do something and so that level of specificity as long as the person writing it knows what the rule is that you have to use this kotoga as long as you're using that then it could very easily be read in so you actually like one language can read the shiro o koto ga all legal coding instead of English everybody calls in Japanese I remember right the American French used in America he thought there was going to be less and big hits but it was a long by French so yes we could end up finding that certain languages are better than others to articulate long but that's a huge thing noise will tell you no no language has to be a big hit but it has to be a big hit well next time I was going to tell you that's actually why I invented this term because my contract was the whole point about having less than big hits contracts so the only challenge like for example this shihara o koto ga te kimasu that could be written as shihara with kind of a shorthand version and so the person who's writing it needs to know they have to adhere to certain things rather than using shorthands and Japanese also has sometimes combination of two characters which could be replaced with one character with the longer things like gakushu versus narau to learn gakushu means to study but they both fundamentally mean the same thing in English but one is a pairing of two words together the other one is one separate word with more hiragana with it so as long as the person typing it knows the rules you could actually easily convert but there's two ways of writing verbs sentakusura versus erabu to choose something but as long as you know you should combine it with the two verbs plus something else then I think it's very easy to convert okay so this is super interesting I would like to invite everybody to join us on Friday where we are actually going to have from two to seven there's also an event right with the off-depth event the moment is not waiting this but it's just sign up anyway we should have time on Friday to continue that today and I'd be very interested to find out whether the possibilities that we're hearing about here what the challenges might actually be going forward and going there towards maybe I think you can start with an item that has some stuff like the project that I just wrote there and I was just wrote there but it could be a great starting point so that's why if you're doing what it should do I would like to say


Chapter 1 of the Second Epistle of Paul the Apostle to the Thessalonians, American Standard Version. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information and to find out how you can volunteer, please visit LibriVox.org. Recording by Sam Stinson by hisfaith.com. Chapter 1. Paul and Sylvanas and Timothy unto the Church of the Thessalonians and God our Father and the Lord Jesus Christ. Grace to you and peace from God the Father and the Lord Jesus Christ. We are bound to give thanks to God always for you brethren, even as it is meet, for that your faith groweth exceedingly, and the love of each one of you all toward one another aboundeth, so that we ourselves glory in you in the churches of God for your patience and faith in all your persecutions and in the afflictions which ye endure, which is a manifest token of the righteous judgment of God, to the end that ye may be counted worthy of the kingdom of God for which ye also suffer.  In that day, to which end we also pray always for you that our God may count you worthy of your calling, and fulfill every desire of goodness and every work of faith with power, that the name of our Lord Jesus may be glorified in you and ye in him, according to the grace of our God and the Lord Jesus Christ. End of chapter one. Chapter two of the second epistle of Paul the Apostle to the Thessalonians, American Standard Version. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information and to find out how you can volunteer, please visit LibriVox.org, recording by Sam Stinson by his faith.com. Chapter two. Now, we beseech you, brethren, touching the coming of our Lord Jesus Christ, and our gathering together unto him, to the end that ye be not quickly shaken from your mind, nor yet be troubled, either by spirit or by word, or by epistle as from us, as that the day of the Lord is just at hand. Let no man be guile you in any wise, for it will not be except the falling away come first, and the man of sin be revealed, the son of perdition, he that opposes and exalteth himself against all that is called God, or that is worshiped, so that he sitteth in the temple of God, setting himself forth as God. Remember ye not that when I was yet with you, I told you these things? And now ye know that which restraineth to the end that he may be revealed in his own season. For the mystery of lawlessness doth already work only. There is one that restraineth now, until he be taken out of the way, and then shall be revealed the lawless one whom the Lord Jesus shall slay with the breath of his mouth, and bring to not by the manifestation of his coming, even he whose coming is in according to the working of Satan, with all power and signs and lying wonders, and with all the seed of unrighteousness for them that perish, because they received not the love of the truth that they might be saved. And for this cause God sendeth them a working of error that they should believe a lie, that they all might be judged, who believed not the truth, but had pleasure in unrighteousness. But we are bound to give thanks to God always for you, brethren, beloved of the Lord, for that God chose you from the beginning unto salvation, in sanctification of the Spirit, and belief of the truth. Whereon to he called you through our gospel to the obtaining of the glory of our Lord Jesus Christ? So then, brethren, stand fast, and hold the traditions which ye were taught, whether by word or by epistle of ours. Now, our Lord Jesus Christ Himself and God our Father, who loved us and gave us eternal comfort and good hope through grace, comfort your hearts, and establish them in every good work and word. End of chapter 2. Finally, brethren, pray for us that the word of the Lord may run and be glorified, even as also it is with you, and that we may be delivered from unreasonable and evil men, for all have not faith. But the Lord is faithful, who shall establish you and guard you from the evil one. And we have confidence in the Lord touching you that ye both do and will do the things which we command. And the Lord direct your hearts into the love of God and into the patience of Christ. Now, we command you, brethren, in the name of our Lord Jesus Christ, that ye withdraw yourselves from every brother that walketh disorderly, and not after the tradition which they received of us. For yourselves know how ye ought to imitate us, for we behaved not ourselves disorderly among you. Neither did we eat bread for naught at any man's hand, but in labor and travail, working night and day, that we might not burden any of you, not because we have not the right, but to make ourselves an ensemble unto you, that ye should imitate us. For even when we were with you this we commanded you, if any will not work, neither let him eat. For we hear of some that walk among you disorderly, that work not at all, but are busy bodies. Now, them that are such, we command and exhort in the Lord Jesus Christ, that with quietness they work and eat their own bread. But ye, brethren, be not weary and well-doing, and if any man obeyeth not our word by this epistle, note that man, that ye have no company with him, to the end that he may be ashamed. And yet count him not as an enemy, but admonish him as a brother. Now, the Lord of peace himself, give you peace at all times in all ways. The Lord be with you all. The salutation of me, Paul, with mine own hand, which is the token in every epistle, so I write. The grace of our Lord Jesus Christ be with you all. End of chapter 3. And also the end of the book of the Second Epistle of Paul the Apostle to the Thessalonians.


Well, as you know, I've been away from the NRC for about three years. And when I have returned in the last couple months, I continue to be impressed with the quality of the staff, the managers, and the ability of this agency to do its critical mission of public health and safety, common defense and security. I think that's really something that we've done well over the 40 years of our existence. One of the things I think we've done well is learn from experience, learn from our own mistakes. We're entering some challenging times, I think. We have some issues regarding what the future of the nuclear fleet will be, whether there's interest in new types of facilities. We have some issues regarding budget and right sizing of the agency. But again, I hark back to my prior experience and know that the staff of the agency and the leadership of the agency has always risen to the occasion and faced those challenges and met them, I think. So I look forward to working with my fellow commissioners and working with the staff to address the issues we will have in front of us in this environment. I joined the agency in 1978, about six months before the Three Mile Island accident. Came to the agency as an attorney through the honors program. And one of the great things I got to do over those 30 years is have experiences in almost every facet of the agency's operations. I worked on issues anywhere from the implementation of post Three Mile Island safety upgrades and requirements. I worked in the enforcement program with the investigative program. I also worked closely with the inspection staff on problems of construction quality. Other things I got to do when I went to the commission and worked as a legal assistant to Commissioner Carr, who later became the chairman of the agency, is work on things like Part 52, the then new licensing process that the agency was putting together and that we've in the last few years executed with the Vogel and the summer applications. I also worked after 9-11 with the security staff in the new ENSER office on implementing security improvements. The other thing I would say is I got a chance to work with many of the people who helped shape this agency and helped it succeed over the years. It's very humbling in a way and very gratifying to see people in the halls as I've returned to the agency greet me and I can think about a lot of them, some of them who have been here almost as long as I have on projects I worked with them. So that's been very rewarding. But I think what that also does is it helps prepare me in terms of thinking about what types of problems we need to address, how to move through some of the issues and prepare ourselves for the future because I've had experience with many of the programs. The high regard in which the NRC was held by others in the international community impressed me during my tenure at the OECD nuclear energy agency. When I was at conferences, when I was conducting seminars for our nuclear law education program, people wanted to come up to me and ask me about how NRC did things, why did it do things in a certain way because they knew of my prior affiliation with the NRC. And these were people from all kinds of countries, from countries with mature nuclear power programs like France or Japan or Korea, but also some developing countries who really needed to have a safety program for radioactive materials. That said, I think we have a lot to learn from the international community ourselves. We don't do things necessarily the same way. It doesn't mean that we do them better or worse. There are just differences, but there's a lot for us to share and to learn from other countries regarding their operating experience, problems that they've had with sources or material, how they deal with public engagement. So this is much more a global nuclear community, if you will, than it was or at least the impression I had that it was when I was a young attorney starting out in 1978. So what I've learned from that is that I think we need to keep engaged in the international community. We need to continue to share our experiences and to provide leadership when we can for effective nuclear regulation. Well I've just been back for about two months now and I'm still getting acclimated to the agency. Hard as it may be to believe, I found coming back, even though I had been here 30 years, I had about a three-year break while I was working at the NEA in Paris. So it still got some learning to do. I think what I could say is, as always, the safety and security are the paramount concerns for the agency and that's part, you know, the major focus at the very top level. Now having said that, what are some of the things that I see? I think an important area is for us to continue to make progress to bring the post Fukushima improvements to closure. The other thing is I come back to an environment in which the question of resources and the right sizing, if you will, of the agency is a question in the Congress. And I think the agency is taking on that question very responsibly. One other I would say is reflected in the recent commission direction to the staff to start down the path of decommissioning rulemaking. Some of the issues that have come up, and we've heard from stakeholders from any number of sides regarding the effectiveness of the current process for handling decommissioning issues and we're going to face that with plants in the coming years. I would have to say that I'm going to continue to work with my fellow commissioners to make sure that we're talking and that we're discussing issues and trying to build consensus and to give the staff good direction where the commission needs to give that direction. And I think the final thing too is probably I would see building our relationships externally, particularly with the Congress, with other agencies with whom we interface, that's important to me. I think a lot of these ideas will start to gel and come more together by the time I give the traditional speech of the Chairman to the regulatory information conference in early March. I think one of the biggest challenges is looking at the level of resources and the budget that the NRC has to accomplish its mission. Obviously, safety and security are the top priority for the agency. But things change, and so I think we have to make sure that we're agile, we're nimble about looking at how we apply resources, whether we're doing it effectively and focusing on the right things. And I think our external stakeholders, including particularly the Congress, expect us to do that. So that's one challenge. Another challenge I think is for us to bring the post Fukushima safety program to closure. From the standpoint of implementing the things we've identified that need to be implemented at plants, and also deciding whether we've achieved the right safety balance and focus in the things that we've requested, licensees, or ordered or required them to do. The last thing I'd mention at this time as a challenge is probably our readiness to meet potential future licensing or review requests for things like small modular reactors or generation four reactors. There's a lot more talk about whether those technologies will be brought to the NRC in the coming years. And I think we have to be ready to face the questions that those technologies present to us. Those are the challenges that have come to my mind as I have begun my tenure here at the NRC, partly informed by my discussion with stakeholders within the agency and outside the agency. And I'll continue to listen to what I hear from them as we move forward.